On Set Post

  • When you have to watch dailies of your film for days and weeks on end, doesn’t it make sense to have them reflect the images you created on set when they were photographed?

  • When making dailies is assigned to a post-production house or in-house post, many times to correct the raw or log images received from the set a camera LUT or Look Up Table is generally applied to bring the images into somewhat alignment for viewing on editorial monitors. The problem with this system is that those LUT ‘s in no way accurately reflect the true corrected qualities that the camera original media are capable of showing. The same LUT is applied generally to all footage whether it is interior or exterior, day or night and although some footage can look respectable, this one-size-fits-all solution creates dailies that are not accurate representations of the camera original footage.

  • The answer, of course is to embed into the footage a look which was achieved originally on set, and have that embedded look track with each and every shot all the way through post production up until the final color session. Metadata derived using this method also follows the footage and can be accessed easily at any point throughout post production to tweak or fine tune the footage.

  • This is what we do – we protect the integrity of the Director and DP’s on set vision by embedding their vision and look into the footage at the time it is shot. All footage is carefully verified on set so that any problems are known at the time that solutions can be applied, not days or weeks later when it is too late to fix.

  • On set dailies save time, energy and budgets by performing audio syncing, primary color correction, and transcoding for NLE – making footage ready for immediate editorial use.



  •         DIT Workstation for On-Set Dailies/Color                                                                                                                                                                      


    Features Include

  • Media readers for Red Dragon/Epic/Scarlet, Arri Alexa/Alura, Sony F3/F5/F55, Canon C300/C500

  • Live Grading capability for 2 cameras / Cam A & Cam B

  • Live iPad dailies with metadata notes using Teradek Cube

  • 3D footage alignment features

  • Red Rocket X Accelerator card for realtime transcodes and playback of Red Epic, Scarlet & Dragon RD3 footage

  • Color calibrated broadcast and computer monitor screens

  • 12 terabyte Raid 5 mini-SAS storage with mirroring redundancy for safe storage

  • Tangent Wave color surface for color and levels adjustment of all footage formats

  • Leader 5750 waveform/vectorscope for live levels monitoring

  • Fiber Optic cable duplex 2-way to set from workstation up to 1000 feet

  • HP Ultrium LTO 5 on-set archive tape backup services



  • Pomfort Silverstack – the industry leader in secure error-free footage transfers

  • Pomfort Live Grade – color correct live camera output for accurate on-set viewing

  • Adobe Speedgrade – for 3D on-set alignment and color adjustments

  • Live Play & ToDailies – for on-set iPad dailies with camera take notes insert ability

  • Final Cut Pro X, Adobe Premiere Pro CS6 NLE programs

  • DaVinci Resolve – color grading and transcoding to FCP X, Avid, Premiere Pro CS6



 DIT in Van 001         DIT in Van 001-2

The workstation can be staged inside the production van 
up to 1000 feet from set via fiber optic cable connection.