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So if you screw up you might have cost production 2 to 3 million dollars in footage. So that works out to roughly 2 or 3 million dollars a day and you’re the keeper of the footage. That’s $25 million per episode and it’s 15 days. If you’re working on a show like Vinyl that might have like, say a $200 million dollar budget for 9 episodes. If you think about it in terms of pure numbers. What do you think that people in the industry most don’t understand about what a DIT really does? Oh you work with Reed, you must know what you’re doing, so let me hire you for some more stuff.Ĭharlie been freelancing as a DP and DIT for over 10 years now.

Working with Reed helped him build connections in the rest of the industry, or as Charlie puts it We did The Inevitable Defeat of Mister & Pete and then Skelton Twins and then job after job after job and then Vinyl a couple of years ago.”

Reed has subsequently moved into directing more and more, and has brought Charlie on, time and again, as part of her required crew. Reed took a liking to Charlie and the two have worked together frequently ever since. His break into the industry was ‘ pure happenstance’, in that he was picked off the 600 availability list by DP Reed Morano four years ago.

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His ultimate goal is to shoot more and make a career for himself as a DP, but being a DIT is giving him access to a smorgasbord of professional Directors of Photography who have turbo charged his own learning and opportunities. He enjoys the combination of creative and technical problem solving he faces on a daily basis, as well as being thrust into sometimes challenging on-set scenarios that consume his attention. Making all the right moves could propel your career into the stratosphere or one miss-step could quickly crater it.Ĭharlie’s background is in Computer Science, which has served him well in the role of DIT. Especially when you’re in the privileged position of being a Digital Imaging Technician who crosses paths with Producers, Directors, DPs and powerful Show Runners.

That wisdom boils down to ‘ don’t be a jerk‘, but as you’ll see, there’s a lot more to it.

It’s the kind of wisdom that applies to almost any role within production and post, yet you’d be astounded how many people you meet, who fail to heed it.

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I recently got to take a look at a beta of Pomfort’s brand new application Silverstack Lab, which incorporates new dailies creation features into the Silverstack eco-system, which you can read all about in this post.Ĭharlie and I cover a lot of ground in this interview, but one of the things that stayed with me the most was his wisdom on how to make your way into the industry and rise through it’s ranks.

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Thanks to this post’s sponsors Pomfort, the makers of industry standard DIT media management tool Silverstack and on-set colour grading software Live Grade, I got to interview Charlie on what it’s like to be a working DIT, what’s in his (ever-evolving) DIT cart and why he relies up on Pomfort’s tools to get the job done, quicker and more reliably, than with any other software.

Understand what is in a professional DIT cartĬharlie Anderson is a DIT and Director of Photography (IATSE Local 600), who has worked on feature films and TV shows such as HBO’s Vinyl, 22 Jump Street, The Drop and Amazon Studio’s Z:The Beginning of Everything.

Learn what it takes to be a professional DIT.

How To Be a DIT – Interview with Charlie Anderson