My DIT Cart: Kenan Çekiç

In our My DIT Cart series, we regularly spotlight Digital Imaging Technicians from around the world, giving you exclusive insights into their workflows, gear, and setups.

This time, we’re joined by Istanbul-based DIT Kenan Çekiç, whose credits range from Netflix series to high-end commercials, feature films, and arthouse projects. With such a diverse range of work, Kenan’s setups have to be highly adaptable. Over the years, he’s built an extensive collection of equipment to tailor each setup precisely to the unique demands of every production. Let’s check out the tools he relies on most!

Thanks for joining us today! Please tell us a bit about yourself and your professional life. 

Kenan: „First, let me just say I’ve been following your blog for a while, and I’m really happy to be part of this series! I’m a DIT/member of the Turkish DIT Association, and I live in Istanbul. After graduating from film school, I started working as a camera assistant for a local rental company. Before becoming a DIT, I also worked in national television. Working as a camera assistant gave me a lot of valuable experience, especially when it comes to understanding and using equipment. These experiences help me a lot in my current role.“

What kind of projects do you usually work on these days? 

Kenan: „I mostly work on projects for streaming platforms like Netflix, Disney+, Amazon Prime, and others. Some of the series I’ve worked on include Ethos, Wild Abandon, Cici, Search, Istanbul Encyclopedia, and Chokehold.“

Any projects you’re especially proud of? 

Kenan: „Ethos has been a really important project for my career, as it gave me the chance to work with the amazingly talented and knowledgeable cinematographer Yağız Yavru. 

Besides that, I’ve also been working on commercial films, which are actually a special passion of mine in this industry. I’ve worked on countless advertisement projects, and I’ve learned a lot from each one. Every single commercial set gives me new knowledge and experience. In the last few years, there have been some incredible productions made by amazing companies like Kala, Panda, and Depo. It’s really great to be part of such inspiring work.

I also enjoy working on cinema and arthouse movies, though. For example, I gained a lot of experience working on Iguana Tokyo, thanks to amazing DP Máté Herbai, who also shot On Body And Soul, which was nominated for an Oscar back in 2017.“

So, being involved in different types of projects, how would you describe your setup? 

Kenan: „I’d describe my setups as adaptable and flexible. It always changes depending on the needs and requirements of a project, which we decide together in meetings with the DP, post-production team, production, and so on. Every project is different, so I prepare carefully, combine different elements, and try to make my setup 100% adaptable.

Overall, I always focus on three things: safety, practicality, and speed.

Then I keep checking and adjusting it throughout the shoot. I also try to always be ready for plan B, just in case. Over the years, I’ve built several different setups and collected a lot of gear. I’ve been working as a DIT for nine years now, so I’ve had the chance to invest in my own equipment, which gives me more confidence on set. Overall, I always focus on three things: safety, practicality, and speed.“ 

How do you organize your workstation? 

Kenan: „As mentioned,I always put together my setup based on the DP’s brief and the specific requirements of a project. If I work together with my digital loader, I usually divide my workstation into three parts: One cart with Livegrade for exposure on set. One cart is dedicated to color grading with DaVinci Resolve, and one separate offloading/ QC station in the DIT van, equipped with Silverstack XT.“

What gear do you use for the different workstations? 

Kenan: For my exposure setup, I use Livegrade together with:

• 2x Teradek LUT boxes
• 2x Konvision 1760 monitors (regularly calibrated)
• My MacBook Pro with M1 Pro chip
• 1x Blackmagic Design VideoHub
• Tangent Ripple panel (for Lift, Gamma, Gain adjustments)
• 2x Vaxis Storm 3000 wireless systems
• 2x ARRI WCU-4 units
• I also always have a generator near set and a 3KW UPS just in case. That way, I can power the whole cart for 1-2 hours (depending on how many monitors and accessories I have, of course) 

This setup allows me to deliver image to set, adjust CDL settings, export Livegrade reports, and manage exposure effectively. As said, if possible, I also run a separate setup for color grading, using DaVinci Resolve Studio. That way, I can work more efficiently with my DaVinci Micro Panel, especially to control wheels beyond Lift, Gamma, and Gain.

Anything else you want to add? 

Kenan: „Not really, I’m just happy to work with Pomfort software as they make me and my loader feel more confident on set. So, thanks a million to the entire Pomfort team for this safety feel!“ 

Big thanks to Kenan for sharing these insight with us!