On Set Data Management and Looks: DIT Noah Richoz On Keeping the Balance for “The 100” 7 min read

On Set Data Management and Looks: DIT Noah Richoz On Keeping the Balance for “The 100”

With its hit show The 100, CW network has set new standards for post-apocalyptic TV shows. It’s got a ‘harsh’ look that’s kept throughout the show. Someone who knows the show’s look best is Noah Richoz, DIT on the show since season two. In a recent interview with us, he explains why Silverstack XT and LiveGrade Pro were his go-to options for this production and how on-set looks enhance the show’s distinct style.

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Comparing Features of LUT Boxes for On Set Use 3 min read

Comparing Features of LUT Boxes for On Set Use

When talking about the hardware integrations of LiveGrade Pro we often get asked about the best LUT box to use: "Which is the best LUT box for the film set?" or "Which LUT box do you recommend to work with your software?". LiveGrade works with a broad range of LUT boxes which in the end leaves you spoilt for choice.

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Live Grading a Super Hero – DIT Francesco Sauta On the Production of Spider-Man: Homecoming 11 min read

Live Grading a Super Hero – DIT Francesco Sauta On the Production of Spider-Man: Homecoming

With “Spider-Man: Homecoming” being the second reboot of one of the most popular superhero stories of all times, expectations for the movie were certainly high. Director Jon Watts managed to meet these expectations by giving the film a unique touch of its own - making it a colorful, fresh and delightful story about Peter Parker’s attempts to balance high-school life with his new superhero job.

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Easily Transfer Clips and Metadata from Silverstack to Adobe Premiere Pro 1 min read

Easily Transfer Clips and Metadata from Silverstack to Adobe Premiere Pro

It is a common requirement for the DIT to be able to provide metadata for the editing department. With Premiere Pro having become a professional and widely used editing application for commercials as well as big feature films, on-set users of Silverstack like data management technicians and DITs have requested the export of metadata from Silverstack directly to Premiere Pro.

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DIT Denis Spycher on His on-Set Dailies and Data Workflow for Commercials 9 min read

DIT Denis Spycher on His on-Set Dailies and Data Workflow for Commercials

Brand commercial production is a chapter of its own in the film industry, with often only very few shooting days and incredibly tight deadlines. One of the people who know this best is Denis Spycher. The Zurich-based DIT and owner of dithouse.com has been filming commercials for domestic and international clients for more than eight years. We recently sat down with Denis to talk about his most recent commercial project for telecommunications company Swisscom, in which he used Silverstack Lab for handling data and dailies.

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Production Feature: A Bittersweet “Chance” for DIT Jordan Livingston 3 min read

Production Feature: A Bittersweet “Chance” for DIT Jordan Livingston

"Chance" is an american television series featuring "Dr. House" star Hugh Laurie. Digital imaging technician Jordan Livingston was booked for the first two episodes of the show. His task was to establish the media asset management workflow on-set and together with the directors of photography create a unique look for the series. We talked with Jordan about his role and what his workflow for media and color looked like.

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Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton 2 min read

Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton

Being the most succesful movie of the X-Men franchise and the second-biggest R-rated movie in the US so far, 2016's "Deadpool" isn't an insider tip anymore. The superhero flick convinces with sass, wit and stylish action scenes. In Part 1 of our "Deadpool" Production Feature we talked with Mitch Bax about his work as a DIT on the main unit of "Deadpool". Today we'll take a closer look at how digital imaging technician Chris Bolton handled data and color on the second unit and how both units managed to visually match their looks right on set.

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Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax 7 min read

Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax

The Hollywood blockbuster "Deadpool" was the surprise hit in theatres in 2016. What might have been just another superhero movie, turned out to be a witty and refreshingly ironic movie. As a stylish superhero movie, "Deadpool" comes in a distinct look, that required a smooth workflow for media and color. Mitch Bax, who worked as digital imaging technician on the Main Unit, revealed to us his way of handling data and color on set, using his notebook and both Silverstack and LiveGrade.

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6 Criteria for Storage On Set – The Right Storage for Your Shoot 4 min read

6 Criteria for Storage On Set – The Right Storage for Your Shoot

We have recently been asked in support which storage on set solution we would recommend. This is a tricky question to answer remotely with only little knowledge of the production environment. It made me think if we can somehow objectify this question and break it down to define general criteria for storage on set. Read my thoughts on this which finally end up with six criteria for storage on set you can use to make your very own choice.

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Flexible Setup for Looks in Production: DIT Nate Kalushner on “Divergent” 3 min read

Flexible Setup for Looks in Production: DIT Nate Kalushner on “Divergent”

The production of the feature film "Divergent" set tough requirements for DIT Nate Kalushner. The movie has a distinctive look that was required to be applied already on preview monitors throughout the entire shoot, even on production locations that only allowed the use of very lightweight and mobile monitor setups. Nate shares his experience about the production workflow, and explains how Pomfort LiveGrade helped him create a flexible setup that could adapt well to challenges during production.

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