My DIT Cart: Marbella De La Cruz

In this episode, we speak with Mexican DIT Marbella de la Cruz about the cart she recently built from the ground up. After years of working with rented carts and equipment, she finally had the opportunity to create a setup entirely tailored to her own preferences, selecting every component based on practical experience and lessons learned on set.

From the technical foundation of her Livegrade workflow to a “mexicanada”, a simple but effective DIY solution, Marbella takes us through the tools and ideas that shape her approach to the job. So, let’s meet Marbella!

Thanks for joining us today; it’s great to have you on the blog! 

Marbella: „Happy to be here, and thanks for giving me the opportunity to participate in this interview. Conversations like this one help raise awareness about what DITs actually do and how much the role contributes to the filmmaking process.“

How would you describe that contribution in one sentence? 

Marbella: „I just truly believe you can feel the difference when a DIT is involved in a project. Our work often happens behind the scenes, but when everything is functioning properly, it creates a smoother workflow, stronger creative collaboration, and a more confident path from set to final color.“

Speaking of paths, how did you find your way into the film industry?

Marbella: „I’ve always loved cinema, but I grew up in La Paz, a small city by the sea, where studying filmmaking wasn’t really an option. That led me to move away and study Film Production at the University of Monterrey (UDEM). Later, I completed a specialization program in production at the Centro de Capacitación Cinematográfica (CCC), one of the most respected film schools in the world. Honestly, I never thought I would pass the entrance exam, but here I am years later working in the industry. 

And what led you to specialize as a DIT? 

Marbella: „I actually started out flying drones. A friend who was working as a camera assistant on a feature film recommended me for a trainee position. That film turned out to be Bardo, directed by Alejandro González Iñárritu and photographed by Darius Khondji, ASC. 

When the project ended, the DIT, Gabe Kolodny, told me I should explore the world of imaging more deeply because he knew how interested I was in color. At that point, I had no idea what a DIT actually did. But my fascination with color kept growing, and later, a DIT friend, Laura Cortés, began teaching me. I worked as her Data Manager on projects including Pedro Páramo, directed and photographed by Rodrigo Prieto, ASC, AMC. 

From there, I immersed myself in learning everything I could about image creation, color management, and the technical and creative processes behind building an image. That journey eventually led me to become a DIT.“

You’ve just touched on a few different productions. What projects do you typically work on these days?

Marbella: „Most of my work is in narrative filmmaking, usually long-form productions like my most recent project, a Netflix series called Man on Fire. 

We’re fortunate that Mexico has a very active film and television industry. In addition to a strong local production scene, many international projects come to Mexico to shoot because of our diverse locations, talented crews, and well-established production infrastructure. I’ve also had the opportunity to work on several international productions throughout my career.“

Looking back on your career so far, is there a project that particularly stands out? 

Marbella: „I feel that every project has taught me something valuable, and I carry those lessons with me. If I had to choose one, I would say El Candidato Honesto. 

It was a relatively small, single-camera feature, but it marked the beginning of my collaboration with cinematographer Alejandro Martínez, ASC, AMC. I’ll always be grateful that I said yes to that project. Even though it was a smaller production, I learned an incredible amount as a DIT. 

I often think that when you have fewer resources available, you become more creative and resourceful in solving problems. On that film, I worked extensively with Livegrade because Alejandro likes to make color adjustments live on set. He shared a tremendous amount of knowledge with me and helped me develop my eye, particularly when it comes to evaluating and understanding color temperature. 

Alejandro is a truly remarkable cinematographer. I often describe him as a chameleon because he can move seamlessly between large-scale productions like House of the Dragon or Fallout and much smaller films, yet you can always recognize his creative voice and visual sensibility. Working alongside him had a huge impact on my growth as a DIT and on the way I think about image creation today.“ 

That’s a great point to build on. How would you describe your setup and the philosophy behind your work?

Marbella: „What matters most to me is not necessarily having the largest setup, but having a reliable and efficient one. Every piece of hardware serves a specific purpose and is designed to help me adapt quickly to changing production demands while maintaining color accuracy and stability throughout the day. 

What matters most to me is not necessarily having the largest setup, but having a reliable and efficient one. 

My philosophy is to keep things compact, efficient, and organized. I like having a clean workstation with critical controls, such as iris controls, immediately accessible in case something needs attention. I’m always thinking ahead and trying to anticipate challenges before they happen. 

For example, if we’re shooting from a follow van, I know I can quickly leave my main cart behind, take one of my routers, my monitors to put them inside the van, and my MacBook Pro, and continue working in Livegrade without disrupting production. My goal is always to find the fastest and most efficient solution without taking too much time.

That’s also why I like to be involved from pre-production whenever possible. Understanding the needs of a project early on helps me determine what kind of setup I’ll need and how I can adapt it to different locations and shooting conditions.“

Given that approach, what are the main components of your usual setup?

Marbella: „I work with an Innovativ Voyager 36 cart. For me, it’s the ideal size because it provides enough workspace while still being practical for travel. 

The heart of my workstation is housed inside a custom Gator rack case. It contains a Blackmagic Videohub 10×10, followed by a Blackmagic UltraScope 4K. Hidden inside the rack is my internal network infrastructure, built around an Omada ecosystem with a router, switch, and access point.  For camera color management, I use an FSI BoxIO configured for two cameras, which has proven to be extremely stable. Everything is interconnected through a CalDigit TS5 Plus dock and a MacBook Pro M2 Max. 

Power protection is something I take very seriously. I use a Furman power conditioner as a secondary layer of protection, combined with a UPS that serves as battery backup, surge suppression, and primary power protection. For workflow efficiency, I rely on an Elgato Stream Deck for custom shortcuts and quick-access commands. 

Livegrade remains at the center of my workflow, serving as the primary tool for on-set color management and collaboration with the cinematographer.

I don’t typically use dedicated color-control panels on set because I work primarily with printer lights in Livegrade. My adjustments tend to be precise and image-focused rather than broad wheel-based corrections.“

I also always carry an iPad Pro. It allows us to quickly review dailies from the previous shooting day, compare shots, and even control cameras when needed. And, of course, Livegrade remains at the center of my workflow, serving as the primary tool for on-set color management and collaboration with the cinematographer.“

What kind of monitoring setup do you rely on in your work and when collaborating with others?

Marbella: „My standard setup includes two monitors. On smaller productions, I can work comfortably with a single display, but I strongly prefer having two. Even on a one-camera shoot, a second monitor becomes extremely useful when reviewing framing, matching reverse angles, or comparing setups throughout the day. I always choose Flanders Scientific, unless the cinematographer specifically prefers another brand. 

Whenever possible, I work with OLED monitors, but I also frequently use my DM242s, which still provide excellent 10-bit monitoring performance. I like to keep my scopes visible at all times, but positioned in a way that avoids unnecessary light reflecting into my eyes during long shooting days.

One thing I’ve noticed recently is that productions are becoming much more aware of monitor consistency across set. It’s increasingly common for production to ask what monitor models will be used before prep begins. Ideally, if the budget allows, I like everyone working from the same display ecosystem. On Man on Fire, for example, my station was built around Flanders DM220s because of their OLED panels. 

There was one day when we were operating six cameras simultaneously, and production had a very difficult time sourcing four additional DM220s to complete the set, especially since the model had been discontinued. That experience reinforced how important monitor consistency can be when multiple departments are making critical image decisions. At a minimum, I try to ensure that my station and the director are viewing the same monitor model so we’re evaluating the image under the same conditions.“

Where does Pomfort software fit into your workflow?

Marbella: „My first experience with Pomfort software was Silverstack while working as a Data Manager. I was immediately impressed by how reliable and trustworthy the system felt. Being able to manage media with that level of confidence was a game-changer. 

As a DIT, however, I don’t go to a single project without Livegrade. For me, it’s an essential part of the job. The ability to monitor, adjust, and communicate color decisions in real time has completely transformed on-set workflows. 

On Man on Fire, we had several days operating with six cameras simultaneously. Being able to keep all six cameras within the ACES pipeline while making live adjustments to balance different sensors was incredibly powerful. It allowed us to maintain visual consistency across the entire setup without slowing post-production down. 

As said, I prefer to stay involved from the early stages of a project, particularly during LUT development. Understanding how a LUT is built allows me to make informed decisions later on set. If necessary, I can load LUTs directly into camera, although I consider that a last resort. Knowing the limitations and behavior of a LUT helps me understand where it remains reliable and where exposure decisions can become risky.“

Are there any Livegrade features that you like in particular?  

Marbella: „One of the tools I rely on most is the vectorscope. Having it integrated directly within Livegrade is invaluable, especially when working with more than two cameras. It’s easy to trust your eyes, but we sometimes forget that our eyes are also instruments that become fatigued over the course of a long shooting day. 

With a clean Log signal and a quick glance at the vectorscope, I can immediately identify how different camera sensors are drifting in relation to one another. This becomes especially important when working with rental cameras that may have accumulated thousands of operating hours and no longer respond identically. In those situations, I can quickly build a technical CDL to neutralize sensor differences before moving on to the creative grade. 

For me, that’s where Livegrade really shines: it allows me to separate technical color management from creative color decisions, giving the cinematographer a more reliable and consistent image to evaluate on set.“ 

Does your setup have any special features? 

Marbella: „My previous cart had a funny little feature that became surprisingly useful. It had a small wooden side table attached to a swing arm. In Mexico, we’d call that kind of improvised solution a “mexicanada”—a creative DIY modification that solves a real-world problem. 

When I first saw it, I thought it was a bit odd. But over time, I realized it was brilliant. Cinematographers would often use it to place their lunch, coffee, or laptops instead of setting them on the top shelf near the monitors and equipment. It sounds simple, but it saved the workstation more times than I can count. 

Sometimes the most useful accessories aren’t the expensive ones; they’re the practical solutions developed after years of working on set“

What is your favorite component of your setup, and why? 

Marbella: „Without question, my scopes. I consider them one of the most important tools a DIT can have. They teach you things that your eyes simply cannot see. In a way, they’re like a third eye for image evaluation. 

There are situations where an issue is so subtle that it may go unnoticed visually, but becomes immediately obvious on the scopes. A good example is a light source with a slight flicker frequency issue. Sometimes the image looks perfectly fine at first glance, yet the scopes reveal the problem instantly. 

As I always say: „Scopes never lie.” No matter how experienced we become, our eyes get tired, lighting conditions change, and perception can be subjective. The scopes provide an objective reference point that allows me to make decisions with confidence.“

What has been the latest addition to your setup? 

Marbella: „Honestly, everything. Until recently, I was working with rental carts and rental equipment. This year, I finally had the opportunity to build my own workstation from the ground up. 

Having spent years working with different setups, I already knew what worked for me and what didn’t. When you’re designing a cart for the first time, it’s easy to want every new piece of gear available. But experience teaches you that not everything fits your workflow. Every DIT develops different priorities, and eventually, you learn which tools genuinely make your job better. 

Every DIT develops different priorities, and eventually, you learn which tools genuinely make your job better.

For the first time, I’ve been able to fully customize a cart around the way I like to work. Every component has been chosen intentionally based on real production experience. 

I’m about to start my first long-form project with this new setup, so we’ll see how well I designed it. But that’s part of the fun: every project teaches you something new, and every cart continues to evolve.“ 

From your experience, what’s the most challenging aspect of being a DIT?

Marbella: „One of the most challenging aspects of being a DIT is that the position is still relatively young compared to many other departments. As technology has evolved, our role has become increasingly important, but in many places (including Mexico), there is still some confusion about what a DIT actually does. 

Many producers still assume that a DIT is simply responsible for backing up media, when in reality the role extends far beyond data management. In recent years, we’ve worked hard to establish a clearer distinction between the DIT and Data Manager positions, and I think the industry has made significant progress in that regard. Having separate roles allows each person to focus fully on their responsibilities and ultimately benefits the entire production.“

And on the flip side, what’s the most rewarding part of the job?

Marbella: „The most rewarding part, without question, is earning the complete trust of your DP. I believe the relationship between the DIT and the DP is one of the most important technical and creative partnerships on set, yet it’s not often discussed. 

I believe the relationship between the DIT and the DP is one of the most important technical and creative partnerships on set […].

When that collaboration is strong (and when the gaffer is also part of the conversation), something special happens. You create an environment where technical expertise and creative intent support each other seamlessly. 

At the end of the day, filmmaking is built on communication. Being able to communicate clearly, respectfully, and effectively is often what leads to the best results. For me, one of the proudest moments of my career has been hearing people on set say, “Let’s ask Marbella what she thinks.” That level of trust is something I never take for granted, and it’s one of the most meaningful accomplishments I’ve experienced as a DIT. 

Thanks so much for sharing all these insights with us!