When preparing for a job on which you will be responsible for transcoding, it’s important to choose the hardware with the right processing power. The type of processing power has significant influence on your transcoding performance, so choosing the right CPU/GPU-combination is important in order to optimize your transcoding speed.
The design of a DIT cart heavily depends on the specific requirements of the DIT who builds it. In the case of Frankfurt-based DIT Christian Dressler, his requirements were clear when he first planned the design of his cart: A secure and stable cart that allowed him to protect this gear, but was still flexible enough to fit in narrow spaces. The solution Christian came up with was simple yet unique: Building his cart based on a flight case.
One purpose of transcoding in Silverstack Lab is the creation of viewing dailies from the camera originals. It’s common practice to upload those dailies clips to a web platform that makes them easily available for everybody necessary. ARRI Webgate cloud services is such a dailies platform. Silverstack Lab now integrates with ARRI Webgate and makes it possible to view clips and metadata directly on the dailies platform.
A DIT cart can be a heavy and complex piece of equipment, with tons cords and data cables hanging everywhere – but it doesn’t have to be. The cart of DIT Sam Petrov for example follows a sleek design where not a single cord is visible from the front. In a recent interview Sam shares some details on his equipment, and explains what Steve Jobs has to do with the design of his cart.
The “one-take” workflow video from Light Iron / Panavision shows the new integration of LiveGrade Pro and the Panavision DXL2 camera.
DIT carts come in various forms and sizes. What they all have in common is that they are designed to support their owners best in their daily tasks. The cart of DIT Adam Braverman is a compact and powerful cart that fits just about anywhere on set.
The build of a DIT Cart can be influenced by many different factors, going from personal preferences to specific requirements of a production. One important factor that’s easily forgotten is the location that a DIT works in. Someone who knows this best is New Zealand-based DIT Jason Naran. His cart is built to be robust and adaptable at the same time, in order for him to use it on shootings in the famous New Zealand locations.
DIT Carts don’t have to be large in terms of size to be incredibly powerful – as the DIT Cart of Tokyo based Taki Yusuke shows. On his Magliner Mini Cart he has equipment installed for a variety of different tasks on set, from data management to audio mixing. In an interview with us he explains why the size of DIT carts in Japan really matters, how he copes with power outages on set and why a game controller is the one item that completes his cart.
A good DIT cart is the basis for every digital imaging technician’s work. Hawai’i based Michael Romano owns all in all five different carts for various requirements. He uses a mix and match approach to be prepared for every kind of film set. Read more on how he handles his carts and power supply and see what’s his favorite part about his DIT cart in our in-depth interview.
Starting today comes a new series of blog posts featuring DITs and their DIT carts. We take a look at different setups, common components and the little tweaks that make every single DIT cart unique.
To kick off this series Vancouver based digital imaging technician Frank Devine gave us an exclusive look behind the scenes of his DIT cart.