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.
On-set grading played a big part in the production of Jumanji: Welcome to the Jungle. But how do you grade on set when filming takes place in the middle of the jungle? DIT Lonny Danler, who was responsible for on set grading on Jumanji, shares his experiences.
When working on set, DITs deliver a whole package of services, that often goes beyond the offloading and securing of footage. For his current production “Gelukzoekers”, DIT Thijs Bazelmans handles the whole process from live grading to the final handover of material to post production.
With its hit show The 100, CW network has set new standards for post-apocalyptic TV shows.It’s got a ‘harsh’ look that’s kept throughout the show. Someone who knows the look of the show best is Noah Richoz, DIT on the show since season two. In a recent interview with us he explains why Silverstack XT and LiveGrade Pro were his go-to options for this production, and how on-set looks enhance the distinct style of the show.
With “Spider-Man: Homecoming” being the second reboot of one of the most popular superhero stories of all times, expectations for the movie were certainly high. Director Jon Watts managed to meet these expectations by giving the film a unique touch of its own – making it a colorful, fresh and delightful story about Peter Parker’s attempts to balance high-school life with his new superhero job.
Brand commercial production is a chapter of its own in the film industry, with often only very few shooting days and incredibly tight deadlines. One of the people who know this best is Denis Spycher. The Zurich-based DIT and owner of dithouse.com has been filming commercials for domestic and international clients for more than eight years. We recently sat down with Denis to talk about his most recent commercial project for telecommunications company Swisscom, in which he used Silverstack Lab for handling data and dailies.
“Chance” is an american television series featuring “Dr. House” star Hugh Laurie. Digital imaging technician Jordan Livingston was booked for the first two episodes of the show. His task was to establish the media asset management workflow on-set and together with the directors of photography create a unique look for the series. We talked with Jordan about his role and what his workflow for media and color looked like.
Being the most succesful movie of the X-Men franchise and the second-biggest R-rated movie in the US so far, 2016’s “Deadpool” isn’t an insider tip anymore. The superhero flick convinces with sass, wit and stylish action scenes. In Part 1 of our “Deadpool” Production Feature we talked with Mitch Bax about his work as a DIT on the main unit of “Deadpool”. Today we’ll take a closer look at how digital imaging technician Chris Bolton handled data and color on the second unit and how both units managed to visually match their looks right on set.