A DIT (Digital Imaging Technician) is an umbrella term for a number of related jobs. The role can vary dramatically depending on the type of production and the specific needs of the set.
Key DIT Responsibilities:
Data Wrangling – Keeping Your Footage Safe
The most common role of a DIT is to manage the footage from a shoot and ensure the rushes are safely backed up. The main exception is in HETV and some features, where a dedicated data wrangler is responsible for this, overseen by the DIT as head of the department.
A DIT will always use dedicated software for offloading footage, such as ShotPut Pro, Offshoot, or Silverstack. If someone says they will use Finder or Windows Explorer, run and hide! (Also, be prepared to pay overtime as this method can be very slow!)
All of the software mentioned above copies data and runs what’s called a checksum. Simply put, it runs an algorithm on the original card and generates a number. After it’s copied to the drives, it runs the algorithm again. If the number is the same on both sides, the data is a perfect copy. If it isn’t, the DIT will investigate and fix the issue.
Finder or Windows Explorer will not run any such safety checks. If something goes wrong—like a bad cable, a bit of dust, or a solar flare—you’re essentially fu****. We ensure this never happens, and if something does go catastrophically wrong, we’re there to fix it.
Beyond that, a DIT should also have their own insurance with loss of footage protection.
Transcodes – Getting Footage Ready for Post
On many sets, primarily commercials and films, the DIT may be responsible for making proxies or transcodes for the edit.
A transcode means converting footage from one format to another, usually to create a smaller version of the original footage, making it easier to transport and quicker for editing systems to process.
• Avid often requires transcodes for offline editing.
• Premiere can use any media right off the bat, but making transcodes will still speed up the process, as less data needs to be moved around.
Proxies or transcodes are usually HD 1080p, and the DIT might also be responsible for uploading rushes so post-production can access them immediately on the day of the shoot.
Dailies Grading & Look Development
DITs will have varying levels of competence as colourists; many even work part-time as dedicated colourists. On set, however, these skills can be used for multiple reasons.
Firstly, look development. As the DIT is in charge of the colour workflow on set (from monitors to dailies and transcodes), setting the tone from the start of the shoot can be vital.
The most important part of this is working with the DOP to create a look (or multiple looks) that will be viewed throughout the entire chain. This is essential in carrying the DOP’s vision through to the final grade.
When this is overlooked, the grade can struggle to be pushed as much because too many stakeholders are shocked when they see a vastly different image to what they saw on set, in the dailies, or the rough cuts.
This process allows the DOP, colourist, and director to push the boundaries and produce a more creative grade. Any production hires a DOP because of their taste, and colour is a major factor in this process.
Live QC (Quality Control) – Catching Mistakes Before They Cost Money
Quality control on set can mean the difference between having multiple usable takes or potentially having to reshoot a scene or do expensive VFX work.
A good DIT will have a live feed of the image and will constantly monitor everything on a large dedicated screen. With additional tools, we can see things that others on set simply miss.
You can have too many cooks, but you can never have too many eyes!
This includes spotting:
🔍 Boom mics in frame
🔍 Misplaced props or continuity errors
🔍 Overexposed areas
🔍 Accidental camera settings or lighting changes
🔍 Pretty much anything image-related, especially technical problems
We won’t catch everything, but we still make a huge difference!
Technician – First Aid for the Camera Team
Modern cameras are far more reliable than they used to be, but no cutting-edge tech is without faults. A DIT is often the first line of defence when something goes wrong.
We can:
⚡ Troubleshoot issues before they cause major delays
⚡ Liaise with rental houses to diagnose and fix problems
⚡ Advise on best practices for camera settings, colour, and signal flow
So, Why Do You Need a DIT?
The role of a DIT can range from straightforward to highly complex, but ultimately, we’re here to:
✔️ Keep the set moving
✔️ Ensure footage is safe
✔️ Protect the project’s creative intent
Most importantly, we give you peace of mind. So you don’t have to wake up at 2 am thinking, “OMG, did we back up that last card?”
(Spoiler: Yes, we did.)
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