Have you ever watched the credits scroll by at the end of a TV show or movie and wondered, “Who are all those people, and what do they do?”

You’re not alone! There are hundreds of different roles in a production. Some of them are self-explanatory: The director and screenwriter, for instance. But what about some of the others: Gaffer? Best Boy? DIT?

Let’s start with this last role: the DIT. What is it? What does a DIT on a film set do?

Keep reading to find out who they are and what they can do to make your production run smoother.

What Does a DIT Do On a Film Set?

The DIT, or Digital Imaging Technician, performs several critical steps on set during shooting and before post-production work.

They are responsible for preserving the integrity of the image and creating the digital workflow for the production and post-production teams. On set, they are responsible for ingesting and protecting the digital data and preparing the dailies. They also assist the camera department with troubleshooting any camera issues that arise.

A DIT works closely with the Director of Photography (DP) to achieve the desired look of the production. Very few productions shoot on film anymore, so the digital image must be manipulated to create the proper look.

DIT On Set Workflow

In pre-production, the DP instructs the DIT on the look and parameters of the project. This workflow determines the parameters for resolution, aspect ratio, frame rates, codecs, and lookup tables (LUTs) for every shot.

This establishes the exact steps of the process from the Camera Department on set to the Editing Team in Post Production.

Image Integrity

The DIT on set monitors the picture’s exposure and build looks in camera to match the color between shots

Many productions are shooting in RAW these days. So when the DIT gets the data, they add the LUT to the footage and make minor adjustments to the color so that it looks “right.”

The DIT receives a feed directly from the camera that they then relay to the DP and Director. The DIT needs to make sure what they’re seeing on the monitors includes the proper LUT information, and they are looking at an accurate picture. The DIT is also a second set of eyes on the image to make sure there are no issues such as reflections or shadows, unwanted lens flares, and framing or focus errors.

Protecting the Data

Duplicating and safeguarding the footage against all threats is the core of the DIT’s job.

After the scene is shot, the DIT takes the media card and starts “wrangling” the data. They must create multiple backups to safeguard the data. This is to ensure that the production doesn’t lose footage because a hard drive is corrupted.

They often work in a 3-drive system: one drive stays with them, one goes to the editor or post-production team, and the remainder goes to a third party (often the production office) for safekeeping.

They may also back up the data to an LTO tape. These are sturdier than electronic devices and provide extra security when used for long-term storage.

The DIT maintains a drive of all the data and metadata for each clip that can be accessible at any time on set. This allows the creative team the chance to review the footage at any time should they need to reference something they shot previously.

The DIT and Dailies

Dailies are the selected scenes or clips from a day’s shooting that are shown to the director, DP, producers, and department heads at the end of each day. The production reviews these to plan any necessary re-shoots.

The DIT first applies the LUT information and applies a minor color correction to the footage. Then they sync the external digital audio recorded by the Production Sound Mixer.

The DIT assembles dailies throughout the shoot day, in addition to wrangling the data and managing the image workflow. The DIT needs to work quickly and efficiently throughout the day to accomplish all of these tasks.

Blulight Films DIT — Photo by Julio Saldarriaga

How Do You Become a DIT On a Film Set?

Many DITs start out as an assistant in the camera or post-production department. Even better is if they have worked in both.

They learn the ins and outs of all the different types of digital cameras and how to process data. They need to be well versed in both the technical components of a camera and its software and operating system so they can troubleshoot any issues that arise. Production can’t slow down, so any technical glitches need to be solved as quickly as possible.

They need to be familiar with the basics of HD technology and know-how to use and understand the different components, such as reading a vectorscope or luma waveform monitor.

A DIT needs to understand the requirements and needs of the post process and develop an eye for color-correction. Many editors are working in tandem with the production, often editing material while they’re shooting. So a DIT needs to process the footage quickly to turn it around to the post-production team.

The DP, Camera Assistant, or Production Manager hires the DIT, so it is important to maintain a relationship with a variety of people. Many times, hires happen because of previous relationships or recommendations, but it is still prudent to maintain a resume for networking with new teams.

The DIT On A Film Set

TV and film production is a complex multi-layered world filled with many people and an intricate workflow process. Knowing who the different players are, such as the DIT and understanding what they do, makes the process much easier to manage. And, as a spectator makes it a lot more fun to understand the work that goes behind making your favorite tv show!

Explore our blog to learn more about other roles on a film set and how to use corporate video production to promote your company.

Why You Need A DIT On Set