On large scale productions that span over several countries, consistency, in general, is always an important principle. Look consistency across different units is no exception here, especially when several DPs are involved – as it has been the case on “ZeroZeroZero”. Together with DP Romain Lacourbas, we got to the bottom of the question, how the creative development of a picture can be visualized and improved by on-set grading with Livegrade.
It is always a plus if a team has previously worked together – workflows are often already established, and the communication is easier. The Netflix action comedy ’Coffee and Kareem’ was not the first collaborative project for DIT Leon Rivers-Moore and the camera team he worked with, which made it a lot of fun for everyone to shoot. Silverstack and Livegrade Pro were two old companions for him as well, which he used for the media asset workflow, QC and color grading on set of this particular production.
The TV series ZeroZeroZero is a saga about drug trafficking that spans several continents. A production like this requires a high amount of traveling and cooperation between people from different countries. Italian DITs Andrea Cuomo and Andrea Curiazi have been part of this production in 2019 and report to us their experiences.
After starting as DIT in Rome only two years ago Giulio Strata is more than passionate about his work in this ’crazy business‘ – as he calls it. Even if it can be challenging sometimes to work on small projects, when budget and resources are limited, that can gain new creative approaches and flexibility. He worked on two such projects, the short movies “Under the Moon“ and “Swallow“. In this interview he shares some insights about these two and explains what makes this job so special.
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.