My DIT Cart: James Notari

In this interview series, we regularly spotlight inspiring professionals in the film industry – diving into their career paths, standout projects, and the gear that keeps their workflows running.

This time, we’re catching up with LA-based Digital Imaging Technician James Notari, whose career began at the forefront of the digital cinema revolution. With a background in VFX and some of the earliest RED workflows, James has become a go-to DIT on major feature films and television shows. He gives us a look at his current cart setup, favorite tools, and what it means to be a DIT in today’s fast-paced digital production landscape.

To start, could you tell us a bit about yourself and your professional background? 

James: „My name is James Notari, and I’m a Local 600 member based in Los Angeles. I started in the film business in 2008 as a VFX coordinator on some of the first RED features, right during the transition into the digital cinema era. That was the wild west, where everything was quickly evolving with digital productions. At that time, RED was paired with Light Iron for on-set digital dailies creation. Due to my experience with the RED camera system and R3D files, Light Iron trained me as a dailies operator, where I managed their custom outpost carts and workflow science. I traveled all over the world on RED movies for Light Iron (syncing, labeling, doing post color, rendering dailies, handling LTO backups, etc.). In 2013, I transitioned to the position of DIT, where I could focus on color management, camera exposure, and capture formats with the cinematographer.“ 

What kind of projects are you working on these days? 

James: „I work primarily on features and TV, and just completed an Amazon comedy called Judgment Day in Atlanta, which we shot on ARRI Alexa 35. I am a few weeks from prepping a Netflix movie, Just Picture It.“

We know every DIT’s setup varies. Overall, how would you describe yours? 

James: „My cart is built for speed and accessibility. Getting the camera signal and picture up quickly is a top priority, so the DP can start lighting without delay. I carry an EcoFlow power station that lets me power up first thing at call and stay mobile throughout the day – no need to wait on electrics for a plug-in.

Camera control for all cameras is a must. Every menu is wirelessly accessible from my cart, allowing fast, remote setting changes. Power wheels by Make Your Cart Go have been a game-changer. They’ve made it easy to move quickly through large locations, up hills, and across uneven terrain – all while keeping everything live and ready.“ 

What’s a favorite component of your setup, and why?

James: „My favorite tool would have to be my DJI transmitters and receivers. These provide signal at my cart that exceeds far beyond other ranges. Plus, they can also be used on iPhones, security cams, etc. I have used these on boat to boat, car follow vans, and even a helicopter flying a mile away.“ 

What else is on your cart? 

James: „I run with an Inovativ Echo 36 cart, three Sony 25” OLED monitors, and a 22” Dell desktop for control. Every signal is routed through Flanders Scientific BoxIO LUT boxes, then Blackmagic Design’s 4K capture decks, and color control through Pomfort’s Livegrade Pro software. My cart’s brain is a Mac hard drive routed through an Ethernet hub. 

Pomfort’s Livegrade Pro software is a tool that all DITs live and die by. It is the professional standard for on-set color workflows today – allowing for immediate CDL modifications, playback for matching reference, overlays, and creating a consistent color pipeline that travels from set to post.“ 

What’s the most challenging aspect about being a DIT – and what’s the most rewarding? 

James: “Today, the role of the DIT extends far beyond color management and calibrated monitors. It requires deep knowledge of every camera system and menu on set, as well as technical fluency in broadcast frequencies, iris control, ISO, color temperature, shutter angle, and resolution. But just as critical is the collaboration – the time spent with the cinematographer and camera team to help capture each shot as efficiently and creatively as possible.

Whether I’m working closely with the DP, camera assistants, gaffer, key grip, or VFX supervisor, my goal is always to find the best solution for each shot. Communication is key – whether through HME, walkie, or face-to-face on set. The DIT station is the technical command hub that all runs through. So listening to all of the voices and having a calm personality, in the moment, is how I go about my day.”

Thanks so much for sharing these insights with us!