DIT on set
My focus is to safeguard the cinematographer’s intent at the moment of capture, making sure the image you see on set is the image that will travel consistently into post.
As an on‑set DIT, the focus is to safeguard the cinematographer’s intent at the moment of capture
Process
On‑set workflow
The on‑set DIT designs and implements the color‑management workflow, from show LUTs or ACES transforms to how they’re applied on cameras, LUT boxes and monitors. Monitoring is set up, calibrated and controlled to give the DP and director a reliable reference, including live grading, exposure checks and multi‑camera matching.
Live grading & QC
During shooting, the DIT performs live color correction on the camera feed when needed, balancing cameras, refining contrast and color, and providing immediate feedback to lighting, costume, make‑up and art. In parallel, live QC helps catch issues such as focus problems, unwanted reflections, artifacts or continuity errors before they become an expensive reshoot.
Technical supervision
The DIT supports camera prep and keeps the digital side of the camera package under control: recording formats, codecs, sensor modes, frame lines, metadata, timecode and firmware. This technical supervision extends to wireless video, RF/IP distribution for video village, and coordination with rental houses and post to ensure all gear is aligned with the agreed workflow.
Deliveries & collaboration
At the end of the day, the on‑set DIT passes on color decisions (LUTs, CDLs, stills) and technical documentation to post and the lab, so that dailies can accurately reflect the look signed off on set. This creates a clear bridge between production and post, reducing surprises in editorial and final grading, and giving producers and post supervisors confidence in the integrity of the digital negative.
Ready to work together?
I'm currently available and excited to take on new projects. Let's connect and turn your ideas into reality.
