Do DITs Have A Future?

[hoylecd]

Over two years ago I posted a thread titled "A Digital Loader is not a DIT". Since than I've moved from Michigan to LA, became a Union DIT, and my views have certainly changed. Just like the job itself, I have evolved. I love working as a DIT, I take great pride in my job, and have had consistent work.

Recently, I've become increasingly concerned to the future of my profession. I've heard several accounts of major television shows only hiring a DIT for the pilot. A friend last week informed me that Disney has set a policy that DITs only work the first two episodes for any of their productions. And just this week I've had a job opportunity for a major network that would only pay for the first two episodes. As of today, that has dropped to one.

It feels more and more that DITs have a giant X over them, needing to be cut wherever possible. Perhaps I am just being paranoid. I'm not worried that DITs will be killed over night. Epic will roll out in big numbers, and those jobs will almost certainly need a DIT. But I personally feel the winds are changing, and that DITs everywhere should take notice.

So the question is: am I totally nuts? Believe me, I wouldn't doubt it as a possibility. Can anyone confirm this Disney rumor I heard? Has anyone else had similar experiences of working only an episode or two before a loader position is forced? And if the future is grim, what can be done now to prevent it?

Chris Hoyle

[Dan Kanes]

My opinion has evolved too. I used to think there is no way anyone in their right mind would choose to shoot a large scale job without a DIT.

As a local 600 DIT myself I can confirm that in many ways the world Is against us:

Producers don't want to pay
The Local is doing NOTHING to protect us
DP's often feel threatened or annoyed having a digital cinematography specialist around

My solution is twofold:
Educate producers
Stop DIT'ing and start shooting bigger jobs

You will find several trends in LA,
Uneducated "Digital Loaders" working at sub par loader rates
DP's and AC's who "hate digital"
The undercutters: people who offer to do everything for nothing: sync sound on set, generate iPad dailies, and plenty more for less money.

It gets old. Really old.

Where is the collective part of collective bargaining when it comes to the DIT classification?

General trend says:
Find a new way to work in the next 3 to 5 years.

[Christian Pfeil]

one question from the other side of the atlantic...
what exactly does local 600 stand for?
thanks.

[Steve Sherrick]

I would argue that the DIT position is not the only one in jeopardy. Some commercials have scaled back on having 2nd ACs as well. Producers will always look to cut if there is any indication they can do without the position. It's a matter of education. Many producers don't know exactly what the role of DIT is these days, especially when the term is interchanged with a digital loader. I'm doing a workshop in a couple of weeks that's aimed squarely at producers. The goal is to educate them on what the modern day DIT's role is and how to determine if their project needs a DIT and what kit rentals may entail.

Not every job needs a DIT. There are times when DP and their camera team can achieve what they need to without one. It's knowing when you need one and when you don't that is important. To completely rule out the position because it is just perceived as an unnecessary expense is not a good approach. Producers need to look at the scope of their projects, the needs of their DP, and how much communication needs to happen between production and post. If producers were armed with accurate knowledge, and there were industry standards in place so they know what to expect from a DIT then this would probably be less of an issue. I truly believe that half the problem is a lot of people just don't know a lot about this crew position.

So, will the role go away. Not really. It may evolve. But there will always be a need for technically savvy people on set who can get the most out of the technology. It's probably up to those people to make sure the people that hire them know why they need to.

[kevin holmgren]

Other than one "who gets the most out of technology" what more specifically would a DIT do and how would you then define the other roles like loader? Or is the DIT role getting merged with other positions on smaller crews?

[Liam Hall]

We're in a recession. A DIT is a luxury on many productions. I'd love to have one on the job I'm shooting now...

[Jody Neckles]

There is more work out there than there are decent DITs and there is no sign of this changing...... There is a misconception we are a 'luxury'. Either the job needs a DIT or it doesn't... very simple.

A lowly cinematographer filming at the top of a mountain waiting, for weeks on end, to a catch a rare glimpse of a snow leopard does not need a DIT, but they still need to do their homework (learning the strengths and weaknesses of the camera system and safe backup etc)

A production shooting with multiple cameras, with mixed formats, multiple frame rates, with audio would benefit immensely from having a talented DIT. There are huge time and cost savings to be made by getting things right up front and for those productions who view this as a luxury often end up paying dearly in post production or at worst end up with an inferior product.

The role is certainly evolving... on bigger jobs it is split up into many parts and often overlaps other roles in other departments.
For example features I like to be upfront with the DOP monitoring the live signal which passes through my grading system. I call this DIT Vision... where the DIT works as both as Technician and a Visual Engineer which is similar to the Outside Broadcast world for live TV shows etc. Looks can be created in line with the HDSDI and this feeds the entire video village. The LUT is saved and passed through to the DIT operating the Onset lab etc. Here the LUTs are burnt into dailies. This process communicates the DOPs intent onset through to post production.

The next point will upset a few folks but on some shows the DIT vision role is combined into playback.... I own a Qtake system and I feel very strongly about the benefit of such a development. QTake is an extremely powerful system and they have a shocking amount of developments in the pipeline that will further upset the status quo.

[Dustin Cross]

DIT is evolving and Producers and DPs need to be better educated how DITs can benefit them or when they aren't needed.

I have more calls for work than I can handle, but I also only know a handful of people who I think are qualified to call themselves DIT and they stay busy too. Too many unqualified people out there hurting the DIT position.

600 raising the DIT rate higher than Operators is not helping us. Producers already complain we are too expensive. No reason to raise our rate higher than Operators. Keep them the same.


Dustin Cross
Local 600 DIT

[Dan Kanes]

Well said Steve. Local 600 (actually an international local) is the Cinematographers' Guild (union).

It covers :
DP's
AC's
Photographers
Publicists now
DIT's

It's part of IATSE, the international association of theatrical stage employees.

Being a DIT is a multifaceted position. Not only technical, but also a huge part of the job is maintaining relationships and communications Among various parts of the production, and keeping the gears turning on a digital production.

It's not "doomed" but it is being "endangered"

[Dan Kanes]

@Dustin - I'd say a rate increase across the board for operators and DIT's is in order.
I think more needs to be done to protect hiring practices for us here in Los Angeles.
I stay busy, and indeed when it is busy it's hard to recommend someone who is not up to par.