As part of the wider technical team, DIT Chuck Pappas managed a 36-camera setup using Livegrade 7 to create a consistent cinematic look for Karol G’s Coachella performance.
In this interview, DIT Severin Schultze takes us behind the scenes of Mother Mary. Together with DIT Jonas Karg, he built an integrated workflow for live grading and dailies, with ShotHub keeping everything connected. The result was a smooth set-to-lab pipeline.
‘Hamnet’ has quickly become one of the year’s most talked-about films, winning over both audiences and critics. In this interview, we shift the spotlight to the camera department as DIT Krzysztof Zawieja takes us behind the scenes.
Video technician Mihail Ursu takes us behind the scenes of the Outlander prequel series, explaining how he ensured images travelled smoothly across monitors and iPads on set.
To recap Ferrari’s performance at Motul Petit Le Mans on social media, footage had to travel from camera card to edit suite and onto their social channels almost as fast as the cars lapping the circuit. To pull this off, DIT and editor Brett Ramker built a streamlined mezzanine workflow with Silverstack Lab.
In this interview, Saig Ollivier reveals how he used Livegrade to manage a massive multi-cam setup during Katy Perry’s Paris ‘Lifetimes’ tour.
Few productions this year have pushed the limits of filmmaking quite like “F1: The Movie”. In this interview, DIT Joe Steel takes us behind the scenes!
Peek behind the scenes of a concert film capturing “The Minds of 99” performing the biggest show in Danish history! For DIT Allan Legarth Nielsen this meant managing thousands of hours of footage from a wide mix of cameras.
For the Emmy-winning Netflix series Adolescence, each episode was filmed in a single continuous take. We spoke with DIT Dan Wilkinson-Cain about the unique challenges of shooting without cuts.
Mitch Bax is a seasoned DIT based in Vancouver with over 13 years of experience working across TV and feature films. Most recently, he brought his expertise to Season 2 of HBO’s acclaimed post-apocalyptic series The Last of Us. In this interview, Mitch takes us through his setup, color workflow, and the unique production challenges of a show this scale.