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.
When talking about the hardware integrations of LiveGrade Pro we often get asked about the best LUT box to use: “Which is the best LUT box for the film set?” or “Which LUT box do you recommend to work with your software?”. LiveGrade works with a broad range of LUT boxes which in the end leaves you spoilt for choice.
We have recently been asked in support which storage on set solution we would recommend. This is a tricky question to answer remotely with only little knowledge of the production environment.
It made me think if we can somehow objectify this question and break it down to define general criteria for storage on set. Read my thoughts on this which finally end up with six criteria for storage on set you can use to make your very own choice.