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[nealnorton]

The question of whether or not to hire a DIT can be very different from job to job.

How expert is your AC?  How expert is your DP?  If a digital camera is a novelty to the crew then it seems having an expert on set would be very helpful.  If the AC is highly skilled with the Alexa, then maybe having a DIT is not so important.  Some DP's are incredibly knowledgeable about the cameras they use - and they really don't need another cook in the kitchen.

The selection of camera does play a big part.  I would not dream of shooting with an Epic camera without a "redhead" who knows all the arcane menus and tech ins and outs.  I would also really want to have a DIT with most any Sony camera like the F35 or F65 because they are pretty 'fiddly' and easy to wander astray when using.

The Alexa IS very easy to understand for most camera people who have experience using modern film cameras.  The Alexa is also amazingly reliable.  For many Alexa shoots I think a DIT is not needed. 

If the job includes multiple cameras with a lot of technology involved like synching, matching, audio, wireless transmission, 3D, Codex recorders, etc.  then a DIT would be pretty much vital to the production.

On the other hand, a DIT can also be a divisive element on set.  There are DIT's that come from a broadcast background who do not understand the role of the DP and who believe the "look" of the production is a technical element best controlled by the expert technician - the DIT.   I have seen DIT's using technical jargon to convince producers that the DP doesn't know what the format is capable of and that the DIT really should be determining such 'technical' things as lighting, aperture, exposure index and filtration.  No wonder some DP's decide a DIT is not needed.

Neal

[jdcarbonaro]

The question of whether or not to hire a DIT can be very different from job to job.

How expert is your AC?  How expert is your DP?  If a digital camera is a novelty to the crew then it seems having an expert on set would be very helpful.  If the AC is highly skilled with the Alexa, then maybe having a DIT is not so important.  Some DP's are incredibly knowledgeable about the cameras they use - and they really don't need another cook in the kitchen.

The selection of camera does play a big part.  I would not dream of shooting with an Epic camera without a "redhead" who knows all the arcane menus and tech ins and outs.  I would also really want to have a DIT with most any Sony camera like the F35 or F65 because they are pretty 'fiddly' and easy to wander astray when using.

The Alexa IS very easy to understand for most camera people who have experience using modern film cameras.  The Alexa is also amazingly reliable.  For many Alexa shoots I think a DIT is not needed. 

If the job includes multiple cameras with a lot of technology involved like synching, matching, audio, wireless transmission, 3D, Codex recorders, etc.  then a DIT would be pretty much vital to the production.

On the other hand, a DIT can also be a divisive element on set.  There are DIT's that come from a broadcast background who do not understand the role of the DP and who believe the "look" of the production is a technical element best controlled by the expert technician - the DIT.   I have seen DIT's using technical jargon to convince producers that the DP doesn't know what the format is capable of and that the DIT really should be determining such 'technical' things as lighting, aperture, exposure index and filtration.  No wonder some DP's decide a DIT is not needed.

Neal

This is probably the most sensible comment yet.
I know there are a lot of "DIT's" running around that are more "tech geek" than they are camera savvy, and/or workflow savvy. And thus, gives the roll a very bad name. And I understand in that respect why a DP would not want one.
The tech part of it, the workflow part of it, and the film-to-digital translation part of it, I feel make the roll a very valuable position.

My DP right now is extremely talented, and could light without a DIT. But he wants to know, under certain lighting conditions, and certain elements, how the camera responds differently than film. The DIT is there to help.
The AC's are very capable of operating the camera, and menus. But there have already been almost a dozen small issues with the camera that only the DIT could handle. Not because anyone else wasn't smart enough. But because the DIT ONLY does DIT work. and knows Everything about these issues and has seen them 1000 times.

In my opinion, a DIT is not qualified unless they have camera, editorial, coloring, and computer experience.
if they are missing one, they encounter problems. And that becomes a moment when a DP decides he won't want one in the future.

Can you shoot a digital feature without a DIT? Yes.
could you do it without a 2nd AC? Yes.
Could you do it without a 2nd AD? Yes.
But it's better to have them there. Why? Because they are the ones who have that bit of extra experience with Digital cameras, workflow, post, and computers that can really make a project seamless, and easy.

And I still feel that it is a very careless and somewhat offensive statement for Arri to make that you don't need a DIT because Alexa is just that easy.
BTW, I can shoot Red, F65, F35, Genesis, and Alexa without a DIT. doesn't mean I would.
And I certainly wouldn't run around telling people that I you don't need AC's anymore just because the operators can navigate the menus and pull their own focus..

[Guenter N.]

jdcarbonara,

I am quite amused how much attention and rave one little post of mine has caused here.

First of all this or any of my posts do not represent ARRI policy.
There is no ARRI policy or even interest in making rules of what crew to use, what they do or call themselves etc.
We just build tools for film making to be used however people want.

I know many DIT's that I highly respect and trust and know they are a great asset on set because they have accumulated a lot of knowledge over the years and can do many things that can allow a DP to focus on his job.
There is the creative side and the technical side - sometimes creative people do not want to deal with any technical aspects and they like to hire someone who loves just that - a DIT.

On larger gigs a DIT can make sure all is running smoothly. And yes, I have seen shoots where things went wrong for one or another reason - but not nessesary because there was no DIT.
Like Neal mentioned below - this position can be useful in some situations and not in others.
I don't want to get into stories about DIT's recommending specific workflows.... big can of worms right there.

Where do you get the following statement from?

The workflow from set to dailies to editorial was designed by the DIT.

By all means, workflows existed long before any DIT's were around....

If one chooses to treat ALEXA like a film camera - they can do so and it will be just fine.
Many projects were done successfully this way - no offense.
I did not mean to offend any DIT by saying this - but there is really no need to know ALEXA from the technical side to be able to use it.
There are plenty other cameras around that need careful monitoring where you can still show your talent ;-)

Cheers,
Guenter

[jdcarbonaro]

jdcarbonara,

I am quite amused how much attention and rave one little post of mine has caused here.

First of all this or any of my posts do not represent ARRI policy.
There is no ARRI policy or even interest in making rules of what crew to use, what they do or call themselves etc.
We just build tools for film making to be used however people want.

I know many DIT's that I highly respect and trust and know they are a great asset on set because they have accumulated a lot of knowledge over the years and can do many things that can allow a DP to focus on his job.
There is the creative side and the technical side - sometimes creative people do not want to deal with any technical aspects and they like to hire someone who loves just that - a DIT.

On larger gigs a DIT can make sure all is running smoothly. And yes, I have seen shoots where things went wrong for one or another reason - but not nessesary because there was no DIT.
Like Neal mentioned below - this position can be useful in some situations and not in others.
I don't want to get into stories about DIT's recommending specific workflows.... big can of worms right there.

Where do you get the following statement from?

The workflow from set to dailies to editorial was designed by the DIT.

By all means, workflows existed long before any DIT's were around....

If one chooses to treat ALEXA like a film camera - they can do so and it will be just fine.
Many projects were done successfully this way - no offense.
I did not mean to offend any DIT by saying this - but there is really no need to know ALEXA from the technical side to be able to use it.
There are plenty other cameras around that need careful monitoring where you can still show your talent ;-)

Cheers,
Guenter

The statement about the workflow being designed by the DIT was specific to the job. I was not suggesting that post workflow as a whole was designed by DITs. That would obviously be quite wrong.

As far as the personal choice to have or not to have a DIT on set, I think we've established quite well that one can shoot a camera without a technicians help.
And I do agree, that some cameras are more difficult than others. But there are several camera options today, the Alexa Included, that are not film, and can definitely benefit from having an imaging technician on set.

I wasn't blaming the problems that people encounter on NOT having a DIT. That's ridiculous. But when the problem arises, a real DIT can most likely take care of it, when no one else can.  That's a valuable asset.

Thank you for clearing up your statement not representing the views of Arri. That would be pretty rough.
Perhaps when we are all offering advice to someone who is asking an important question, we should present value to the members of the camera department, rather than trying to market cameras as not needing crew..

[HDDP]

My question is related to the DIT's job on set, and more precisely, what are his tasks and how does he help the director of photography?

I haven't been on the Forum for quite awhile and ran across this 3 month old post from Simona and would like to try provide a comprehensive and authoritative answer to this question for her and others who stumble across it as I did. I believe I am uniquely qualified to address this since I wrote the Digital Imaging Technician, Digital Camera Utility & Digital Utility contractual job descriptions for the September 17th 2001 IATSE / AMPTP contract and was integral in the creation of the position. (though i am sure it would have eventually been created eventually none-the-less).

First I want to say hi to NealNorton, one of the best steadicam ops. and FM Racers I know.

I'd like to thank the original poster because this is something that everyone who is, aspires to be, or just calls themselves a DIT should be required to memorize and master prior to being approved as a DIT. In order to help you understand this completely, I probably need to include some of the back-story involved in the creation of the position in a different post. First however, here is the entire job description I wrote which was signed into the IATSE  / AMPTP contract on September 17, 2001 and is still in force today. Keep in mind this was written prior to the advent of Raw & Log workflow and MUCH earlier than the introduction of the first Arri digital camera.

Excerpt from the 09/17/01 IATSE / AMPTP Contract:

1. Digital Imaging Technician: the DIT may set up and supervise end to end workflow to ensure the integrity of the image from the point of capture through to the hand off to post production.

• responsible for all in-camera recording, digital audio acquisition, genlock and timecode processes in the camera with a complete understanding of how they are integrated into digital acquisition format and postproduction environment.

• responsible for ordering, preparation, set up, operation, troubleshooting and maintenance of digital cameras (provides oversight of Camera Assistants and Utilities), wave form monitors, down converters (Hi-Def to
other formats), monitors, cables, digital recording devices, terminal equipment, driver software and other related equipment.

• performs advanced coloring/shading of cameras, encompassing traditional Video Controller duties; responsible for color timing including but not limited to: adjusting, balancing, registering and setting timing, matching electronic contrast, brightness, quality and edge definition; matching of cameras, color consistency (RGB) exposure (iris), density (master black), electronic color balance (chroma, hue and saturation), of each camera and its monitor and totally matching camera inputs to the VCU and checking the wave form monitor and the vectorscope.

• exercises supervisory responsibility for technical acceptability of the image.

The key elements here are "ADVANCED COLORING... RESPONSIBLE FOR COLOR TIMING"... & ..."SUPERVISORY RESPONSIBILITY FOR TECHNICAL ACCEPTABILITY OF THE IMAGE". These were and are the requirements of the position, not recommendations. Unfortunately for those of us who have refined these skill sets over years, the profession has been populated by a group of "TWO DAY SEMINAR DIT'S" who are so clueless to what the job entails that the position has come into question with comments like this;

With ALEXA you can use a light meter just like on a film camera and it will allow more room for errors than any other camera. There is no need for a DIT if you shoot with ALEXA.

With all due respect, since I am sure very few people have any idea what the DIT classification requirements actually are, there is no room for errors, errors cost money. And advanced color correction has always been a requirement of the job, not a suggestion or a cool thing to do. But most importantly, the big picture is to insure the production thru post-production workflow is fast, cost effective and error-free to realize the benefits of shooting digital in the first place.

As a DP, ask yourself "How can I go faster, how can I make things easier on my camera crew and how can I save $10,000 a week for the production company". If you can't answer those questions, go ask a truly experienced DIT and you'll soon realize the value of the position and see fewer comments like this in the future;

No need for a DIT using the Alexa. That's the whole point of the ProRes workflow.

Sincerely,
Derek Grover

[irocheez]

Thanks a lot for the contribution to this post. I was just starting my first project as a DP with the Alexa and I was looking for information just to be sure things run smoothly on set.
 

[ChrisSmith]

I cannot speak for Guenther of course, but I can't help but think he meant, you don't HAVE to have a DIT.  Not that a DIT is not needed at all.

Personally on my shoots the second AC double duties as a media manager.  There really is no DIT in the classic sense and if he is a "DIT", he only has to media manage.  Me (as the director and camera owner) or the 1st AC usually deal with the cam's settings.  I personally like to sit at DaVinci at night and do my own dailies for the post house.

That being said, that's the way I do things.  If I wasn't into doing my own camera operation and being my own dailies colorist I would absolutely love a true DIT on set managing those things and doing my dailies for me while i'm on set to approve.

i think we can all think of ways to use or not use a DIT.  I would be very sad if they didn't exist even if I didn't always fully utilize their skillset on every shoot.  There are those times, where I don't have time or there's multiple cams on set running at different locations I would be lost without a DIT.  Or sometimes, it's nice to be lazy and tell them to just make a nice look for dailies and go have a beer instead of staring at a monitor until 2am

[jdcarbonaro]

Thanks for the actual text Derek!
Very informative for everyone to see.

[Guenter N.]

Derek,
thanks for posting the union guidelines from 11 years ago...
Nevertheless, I stand by my comments that you quoted below.
Yes, there is plenty of room for errors unlike 11 years ago when one had to work with 8-stop video cameras that needed careful monitoring.
I have no doubts about the skills that you have refined over the years.
Some skills become obsolete for good reasons - other skills need to be constantly added and learned - this is what DIT's have to do.
Primary reason why people prefer DIT's is because they want to hand off something they do not know or care to know to someone else who does.
Are DIT's an absolute requirement/necessity?
No.
Are they useful?
Definitely Yes - for all the reasons mentioned.

There's many ways to get to Rome...

Best,
Guenter

[Jamie Metzger]

Guenter,

I too read your comment about not needing a DIT and I thought to myself that your comment was full of brazen and your words were not carefully chosen.

Yes. You can shoot without a DIT. You can shoot entirely by yourself. It all depends on the project. I do high end commercials, usually with tight turnarounds. Without my services as a DIT, the camera's would not be setup correctly, the audio would not be jammed correctly, post wouldn't have any idea of what we were delivering...etc.

The DIT is a new job in comparison to every other job in the camera department. A lot of productions have hired complete idiots that call themselves "DITs", and inevitably mess something up. Who's fault is that really? The guy lying or the production coordinator that didn't ask the right questions?

My point is that I've done incredibly simple Alexa jobs, and then I've done insanely complex alexa jobs. I can accomodate whatever you throw at me, just please give me enough prep time.

I see the need for a DIT evolving into the DP gaining control over dailies again. He/She can know immediately that their dailies will look perfect instead of worrying how someone else will interpret the footage. If you can work a DIT into your project and explain to them what you need, you will certainly get an excellent collaboration from someone like me. If you hire someone off craigslist, you might find someone better

[robstiff]

It's been great seeing the film and video people merge into using the Alexa.
A lot of experiences, ideas and approaches are shared improving production;
which is the goal we all share...

Having the support of Guenter and the ARRI staff over the years goes appreciated.
If someone asked me for a character reference on Guenter. I would be quick to say he
is a humble guy, a practical thinker and a good listener.

[Guenter N.]

Rob, thanks for the kind comments.

Jamie, I 100% agree with all you write.
This whole post started because a student asked a question about the need of a DIT with ALEXA for her upcoming film and my comments/answer was specifically a response for her situation.
I honestly never intended to cause any harm to any DIT.
Can you shoot a film without a gaffer?
Absolutley. You will have to light it yourself.
How about without a grip, hair and make-up, set dresser etc.
When you're a student any job can be improvised.
Now in the real world when money is involved things are different.
We all know this.
Best,
Guenter

[Jamie Metzger]

Guenter,

I think we all knew what you meant by your statement, but your wording was careless and not clear enough for the person who asked the question.

Please try to remember that the DIT position is a very dis-respected position, as there are a lot of phonies out there. Some of us make a living doing that job, and no one wants to think their job is disappearing.

To answer the original question:

For a student film, I'm sure you can find another student that would like to be a DIT and wouldn't mind helping you and learn along with you. One of my interns has been the go-to DIT at UCLA, even on 5D/7D jobs (technicolor LUT....etc)

You can literally put the Alexa on your shoulder and shoot. As a DP, you must determine how much crew you need to support your artistic choices. If you think of the film crew as building a house, the DIT does the finishing touches, like paint, which might not seem important now, but later you would wish you had chosen to paint before your furniture was moved in

[Guenter N.]

Thanks Jamie,
very well written.

Best,
Guenter

[Sareesh]

When you're a student any job can be improvised.
Now in the real world when money is involved things are different.

Hi Guenter, I agree that the Alexa greatly manages to simplify digital recording, while other competitors have actually made it more complex.

In your estimation what's the difference between a data handler and a DIT?

In any case, a trade is a trade - it has to prove itself worthy of being in the marketplace.