Keeping the Balance Between Data and Looks: DIT Noah Richoz on His On-Set Workflow for “The 100” 7 min read

Keeping the Balance Between Data and Looks: DIT Noah Richoz on His On-Set Workflow for “The 100”

With its hit show The 100, CW network has set new standards for post-apocalyptic TV shows. The edgy characters, scarce landscapes and a distinct ‘harsh’ look that’s kept throughout the show make it easy for the viewers to dive into this fictional world, in which humans struggle to survive after a nuclear catastrophe.

Someone who knows the look of the show best is Noah Richoz. Noah has been working as a DIT on the show since season two, and is currently shooting for season 5 which is set to air later this year. In a recent interview with us he explains why Silverstack XT and LiveGrade Pro were his go-to options for this production, and how on-set looks enhance the distinct style of the show.

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Production Feature: A Bittersweet “Chance” for DIT Jordan Livingston 3 min read

Production Feature: A Bittersweet “Chance” for DIT Jordan Livingston

“Chance” is an american television series featuring “Dr. House” star Hugh Laurie. Digital imaging technician Jordan Livingston was booked for the first two episodes of the show. His task was to establish the media asset management workflow on-set and together with the directors of photography create a unique look for the series. We talked with Jordan about his role and what his workflow for media and color looked like.

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Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton 2 min read

Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton

Being the most succesful movie of the X-Men franchise and the second-biggest R-rated movie in the US so far, 2016’s “Deadpool” isn’t an insider tip anymore. The superhero flick convinces with sass, wit and stylish action scenes. In Part 1 of our “Deadpool” Production Feature we talked with Mitch Bax about his work as a DIT on the main unit of “Deadpool”. Today we’ll take a closer look at how digital imaging technician Chris Bolton handled data and color on the second unit and how both units managed to visually match their looks right on set.

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Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax 7 min read

Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax

The Hollywood blockbuster “Deadpool” was the surprise hit in theatres in 2016. What might have been just another superhero movie, turned out to be a witty and refreshingly ironic movie. As a stylish superhero movie, “Deadpool” comes in a distinct look, that required a smooth workflow for media and color. Mitch Bax, who worked as digital imaging technician on the Main Unit, revealed to us his way of handling data and color on set, using his notebook and both Silverstack and LiveGrade.

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Flexible Setup for Looks in Production: DIT Nate Kalushner on “Divergent” 3 min read

Flexible Setup for Looks in Production: DIT Nate Kalushner on “Divergent”

The production of the feature film “Divergent” set tough requirements for DIT Nate Kalushner. The movie has a distinctive look that was required to be applied already on preview monitors throughout the entire shoot, even on production locations that only allowed the use of very lightweight and mobile monitor setups. Nate shares his experience about the production workflow, and explains how Pomfort LiveGrade helped him create a flexible setup that could adapt well to challenges during production.

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Being DIT on the „Steve Jobs” movie: How to Manage Huge Quantity of Data 3 min read

Being DIT on the „Steve Jobs” movie: How to Manage Huge Quantity of Data

Only one third of 2016’s biopic Steve Jobs were shot digitally. Nonetheless this accounted for almost 100 TB of ARRIRAW material which needed to be ingested and organized. Jordan Livingston, who worked as DIT on Steve Jobs, talked with us about production, teamwork and how he managed this huge quantity of data with multiple instances of Silverstack XT and LiveGrade Pro.

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