Interviewing famous bands can be exciting enough. However, rushing around locations to get all necessary shooting material can result in a nerve-racking challenge. Therefore, offloading movie data on the go requires thorough planning. The guys of Clockwork 9 kept that in mind while shooting the documentary „Live at the Agora“. With a mobile setup and reliable software for their data management they made sure to accomplish their daily tasks as smoothly as possible.
Capturing a live performance can be challenging – for the DP and camera assistant, as well as for the DIT involved. When Ryan Nguyen worked as DIT on the Netflix Comedy Special “Happy to Be Here” by Standup Comedian Tig Notaro, he had to make sure that 15 hours of footage from the night were secured, QC’ed and transcoded.
Getting all your technical equipment and the entire crew to the designated shooting location can easily become a challenging scenario, especially when shooting at remote locations with hardly any road access. That’s exactly what DIT Stefan Weßling experienced on the production „Capelli Code“, when he had to get his setup to a location in the Swiss Alps that was only reachable by a 45-minutes ride on a snowcat.
Working for film productions from two different countries can be an exciting experience for everyone involved. For Christiaan van der Knoop this was the case when he worked as DIT on the award-winning Dutch / German co-production “My Extraordinary Summer with Tess”, on which he handled on-set dailies creation with Silverstack Lab.
It’s not every day that you get to work on a set with a massive robot and actors in space suits. When filming the Netflix show “Lost in Space”, that’s exactly what DIT Chris Bolton experienced.
The creative look that the DP has in mind during shooting serves as an important basis for subsequent production steps. Making sure that it is maintained throughout the shoot and communicated all the way into post, however, is not always easy. On the production of Peter Jackson’s new blockbuster movie “Mortal Engines”, DIT Jason Naran helped achieving this using LiveGrade Pro.
Horror movies are a genre of their very own, captivating viewers with their extremely thrilling and often dark and gruesome story lines. Out of the many horror movies out there, few manage to do this as well as the “Halloween” movies. And the movie series’ newest addition is no exception to that. Andy Bader recently worked as the main unit DIT on the new “Halloween” movie.
Shooting a historical movie can be an exciting experience. The historical costumes, locations, and settings often seem to take not only the viewer, but also the entire production team back in time. Steve Liu had such an experience on the Chinese production ‘Hidden Man’, on which he worked as a DIT supervisor. Set in the 1937 Beijing, the movie gives a lot of insights into the old Republic of China at the time. In a recent interview Steve shares some details on his work on this production.
Working as DIT on 2nd Unit can be different from main unit in many aspects. One key task is to maintain consistency with the work of the main unit – often without anyone from main unit being present on set. DITs Mitch Bax and Ryan McGregor worked on the 2nd Unit of Deadpool 2. In a recent interview they share their experiences and offer some advise for joining a production on 2nd Unit.
Deadpool 2 is the sequel to the most popular R-rated movie in history. Despite being produced by an entirley different team, on-set color again played a big role in its production. Main Unit DIT Simon Jori was responsible for on-set color and look management on Deadpool 2. In a recent interview with us he talks about the power of on-set color, the importance of testing looks beforehand, and explains why he likes to run more LUT boxes than cameras.