Digital Imaging Technician or DIT
Our DITs will look after your onset media & colour management.
We can work with any camera resolution, format, codec, log &
raw or compressed formats.
We can provide various forms of media management, verification & data security.
We can manage your image capture using vector scopes, waveforms & histograms.
All of our monitors are calibrated to REC 709, DCI P3 or specific colour space requirements.
We use focus, exposure, camera functions & camera settings.
We apply creative looks, develop LUTs & use CDLs for creative intentions.
We use colour charts / focus charts / grey scale & frame leader charts for accuracy.
Here are some of the Cameras we regularly work with :
- Arri Alexa 65 / Alexa XT / Mini / Amira
- RED Epic / Dragon / Helium / Weapon
- Panasonic Vari-cam
- Sony A7s / F3 / F5 / F7 / Venice
- Canon 5D / 7D / 1DX
- GoPro & VR 360 camera rigs
- 3-ality stereo rigs
- Drones – big & small
- Phantom flex 4k & high-speed cameras
Video Playback
Our video playback system is based on the industry standard Qtake.
We can record & playback 8 cameras or more – simultaneously.
We can have multiple units shooting in different locations at the same time.
Each with shared media – instantly via Qtake Server.
Our range of portable recorders are a cheaper alternative to Qtake.
Nektar have various wireless hand-held directors monitors.
We can supply video village set ups for directors of any scale.
Mobile battery powered Qtake systems for tough location jobs.
We offer Qtake streaming to iPad for crew viewing onset.
Techno cranes, helicopter rigs, Shot-over head, Russian arm rigs,
tracking vehicles, Dollys, Steadi-cam – we’ve done it all.
Slate, scene, camera, script – metadata synchronisation.
Wireless video camera links up to 1000m+ away.
Script supervisor monitor feeds with frame grabs & metadata support.
Crew viewing, producers & VIP guests monitor arrangements.
Studio linking via fibre optic, IP or BNC.
Onset editing & assembly while shooting.
EDL, XML, ALE & metadata delivery for post workflow assist.
We have sent kits all over NZ, Australia & the World.
Data Management
Nektar will ensure your camera media is backed up fast and securely.
As well as backing up, we also verify that the copies are exactly the same as recorded by your camera system.
We can hold months of footage onset for immediate access.
We use very fast, reliable & secure, latest generation Raid drives.
We also offer transcoding & processing of your media for Editorial purposes.
Plus we can create dailies media at the same time – all colour graded, sound sync’d & checked.
We have long term storage options available too, if you don’t plan to edit and deliver right away.
LTO tape back up is safest & most efficient way to store media long term.
HERE ARE SOME OF OUR OTHER SERVICES TO CONSIDER:
- Dailies service
- Quality control checks
- Sound syncing
- Metadata inclusion
- Online dailies to cloud delivery service
- Dailies screening service in theatre
Workflow
Feeling confused?
The role of DIT is relatively new and constantly developing.
We thought we’d clarify a few different routines that our DIT’s offer.
Shooting on one Camera is most common, but more cameras can be managed. One deliverable is usually requested – typically Avid DNxHD or ProRes. The DIT role can be combined with video, if the shooting plans are complimentary. DIT applies sync’d sound and colour adjustments. If creative looks need to be developed, this should ideally happen during prep period with DOP.
Shooting 1 or 2 cameras is common. The DIT would be based near set – managing all media from the cameras, handling back ups to secure drives, adding colour adjustments, sync sound, and metadata inclusion. Two deliverables is usually required – typically Avid DNxHD or ProRes for editorial. And dailies version for DIR and DOP viewing. A dailies cloud delivery service can easily be arranged.
Shooting 2 or more cameras is common. The DIT is based onset right near cameras. Wireless links provided to each camera. Applying LUTs and CDLs, and managing the DOPs viewing experience, in either REC709 or DCI P3 colour space. Collecting frame grabs for lighting reference, with metadata inclusion. Creating all camera set up files, frame lines, frame leaders, focus and exposure management. Editorial and Dailies media created by a separate offset DIT.