A smooth data workflow across multiple units: DIT Stefan Weßling talks about the production of “Capelli Code” 9 min read

A smooth data workflow across multiple units: DIT Stefan Weßling talks about the production of “Capelli Code”

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.

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DIT Jason Naran: The Role of Live Color and Look Information on “Mortal Engines” 7 min read

DIT Jason Naran: The Role of Live Color and Look Information on “Mortal Engines”

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.

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Live Grading a Horror Classic: DIT Andy Bader on the Production of “Halloween” 6 min read

Live Grading a Horror Classic: DIT Andy Bader on the Production of “Halloween”

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.

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On-Set Data Management and Color: DIT Supervisor Steve Liu on the Production of “Hidden Man” 11 min read

On-Set Data Management and Color: DIT Supervisor Steve Liu on the Production of “Hidden Man”

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.

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On-Set Color for Deadpool 2 (Part 2): 2nd Unit DITs Mitch Bax and Ryan McGregor On Keeping Look Consistency 10 min read

On-Set Color for Deadpool 2 (Part 2): 2nd Unit DITs Mitch Bax and Ryan McGregor On Keeping Look Consistency

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.

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On-Set Color for Deadpool 2 (Part 1): Main Unit DIT Simon Jori On the Importance of Live Grading 6 min read

On-Set Color for Deadpool 2 (Part 1): Main Unit DIT Simon Jori On the Importance of Live Grading

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.

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