Camera Technician Series: The Art & Science of Being a DIT

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  1. Hugh H 2 years ago

    Couple of questions –

    * Using spider or x-rite color chart would you do a color match as a first step in producing the LUT? Or, as shown on the video, are you doing a balance based on the scopes only. If its the scopes why skip color match. Pros and cons? Also do you create a new LUT when you change lighting or lens? I know that was something Shane brought up in the illumination master class – to snap a shot of the color chart when you change setups.

    * Is the described process of creating the LUT a step you do after lighting each setup? I know Shawn published a set of LUTS for Father & Daughters (interior day, ext night, etc) which made it sound more generic set of LUT then this which sounds like very specific LUTS. Is the difference that what you are showing goes to the video village and the general ones only goes to DP monitor?

    Thanks for the great info!!


    • Author
      Shane 2 years ago

      Hi Hugh,

      1. The Color chart is great for matching cameras and lenses and can work as a great reference. You can generate a Lut from it if you would like, but I mostly use it as a matching tool and reference in Davinci Resolve. Sometimes I use the scopes with the Chart and some times I use the color match tool built into resolve. The chart acts as a reference point to give you information. Generally speaking it is nice to have a shot not he chart for each lighting change. I typically don’t use it for lens changes however if you’re using non color matched glass it can help match lenses and avoid shift. Especially with older lenses.

      2. Creating a Lut is a stylistic choice. On some jobs we just use Rec 709. Other jobs we create Luts during the prep or cameras testing. Or on others I use Live grade and create a new Out or .Cdl file for each scene were having exact color is more important or if the DP really needs to get his intent passed down the line color wise. With any of these scenarios we send this Lut or look downstream so everyone sees intended look.

  2. Willian 2 years ago

    Hello Derek and Shane,

    Thanks for the wonderful inside on The Art & Science of Being a DIT.

    In reference to creating the On-Set Look: Since the environmental conditions on-set and the color grading room in post are so different, in addition to the different characteristics between monitors and projectors when shooting for theatrical release, how accurately does the look created on-set translate to post, specially being Rec.709, as a color space so narrow compared to DCI?

    In another topic, I would like to see an extended version of the The Art & Science of Being a DIT, where specific camera workflows are described, as an example, working with ARRI Alexa, XT in Open Gate mode with spherical and/or anamorphic lenses, RED camera family, F65.

    Each one of these presents different challenges to the DIT. Working with Alexa XT in ARRI raw 3.4K presents the challenge of knowing the workflow around CODEX XR Capture Drives, their VFS software, firmware, a number of licenses, the type of reader to be used: USB 3.0 Dock, Thunderbolt, Thunderbolt 2.0, Dual SAS Dock, the VAULT, the Suite Software version, etc. All of these are required of this particular camera, and so on for other cameras.

    Once again, thanks for the introduction to The Art & Science of Being a DIT.

    Kind regards,

    Willian Aleman
    DIT (Digital Imaging Technician)

  3. Pablo 2 years ago

    Hello Derek, Shane.

    Speed grade seems a great option and I’m starting to build my DIT kit so I would like to make some questions. Have you tried Davinci resolve? I know it can run in Live mode wich I think takes the signal feed from your capturing device and send it directly to the color page so you can use all the controls you’re used to grade with. Is there a reason to purchase Speed Grade? I have not tried it yet, since I have not the capture card yet, I’m looking after a Blackmagic Ultrastudio SDI.

    Thanks for such a great pice of knowledge!

    Pablo Costamagna
    Sonic Shutter
    Buenos Aires, Argentina

  4. Nicolas 1 year ago

    Hello Derek and Shane,

    great and insightful video for a DIT like me just starting out whilst at film school here in London and crewing on short films, I appreciate these videos a lot. I want to work in the camera department in the next ten years on features and commercials and direct in the long run. Will you guys be doing any camera/lighting workshops in the UK anytime in the near future?

    Keep up the amazing content and let me know if you’re in need of an efficient and friendly runner on any projects!


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