My DIT Cart – Adam Braverman 6 min read

My DIT Cart – Adam Braverman

DIT carts come in various forms and sizes. What they all have in common is that they are designed to support their owners best in their daily tasks. The cart of DIT Adam Braverman is a compact and powerful cart that fits just about anywhere on set.

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6 Things a Good Backup Software Should Do to Make Sure Your Copy is Secure 4 min read

6 Things a Good Backup Software Should Do to Make Sure Your Copy is Secure

A good backup software for filmmakers naturally should simplify the backup procedure (e.g. by creating multiple copies in one run), but it should also let you be fully confident that your copies are complete and verified. In this article we will outline some of the criteria that a good backup software should fulfill, and describe how they are implemented in our on-set data management application Silverstack.

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On-Set Color for Deadpool 2: DIT Simon Jori On the Importance of Live Grading 6 min read

On-Set Color for Deadpool 2: DIT Simon Jori On the Importance of Live Grading

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.

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3 Ways to Receive Camera Metadata at the DIT Cart 6 min read

3 Ways to Receive Camera Metadata at the DIT Cart

In order to work with the live camera metadata at your DIT cart, the first step is to make it available in the on-set software. To make sure you know all about the options, the following article will give you an overview of the currently possible setups and hardware configurations for capturing camera metadata with LiveGrade Pro.

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5 Types of Clip Metadata on Set 8 min read

5 Types of Clip Metadata on Set

With today’s digital film cameras, a lot of data is produced and recorded on set. Most of the time the actual image and sound data is accompanied by various kinds of metadata. Some of this metadata is broadly available, such as the running time code overlaid in video monitors. Other metadata is not presented so prominently – especially when the benefits of carrying this information further on are less obvious on set.

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7 Tips for Data Wrangling on a Film Set 4 min read

7 Tips for Data Wrangling on a Film Set

If you are new to data wrangling for film productions, or if you are looking for some tips on the involved activities, you are at the right place. In this article we want to point out the most important aspects of the responsibility for ensuring safe handling of all the produced camera data. Here are our 7 tips for data wrangling.

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My DIT Cart – Jason Naran 5 min read

My DIT Cart – Jason Naran

The build of a DIT Cart can be influenced by many different factors, going from personal preferences to specific requirements of a production. One important factor that’s easily forgotten is the location that a DIT works in. Someone who knows this best is New Zealand-based DIT Jason Naran. His cart is built to be robust and adaptable at the same time, in order for him to use it on shootings in the famous New Zealand locations.

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