Between the abundance of digital cameras available today and UltraHD HDR production adoption on the rise, Digital Imaging Technicians (DITs) are in high demand, and their role is rapidly expanding. They not only communicate the Director of Photography's (DoP) creative intent downstream to all stakeholders, but they’re also responsible for ensuring the production meets studio standards. With so many technologies involved in modern productions, the role of a DIT is paramount and dynamic, which is one of many reasons Canadian DIT Chris Bolton of Chromatic Pictures finds the job rewarding. Across projects, he’s continuously honing his skills and learning new tools to improve his craft, all while creating great stories.
With a long list of commercial credits and involvement on feature films like Underworld: Awakening, Here, Wonder, The Christmas Chronicles 2, and Welcome to Marwen, his project track record is impressive; also noteworthy, his DIT cart is decked out with all the bells and whistles, from high quality monitors to Pomfort Livegrade Pro, a multi-viewer, an AJA KUMO 3232-12G SDI router, an AJA ColorBox, and a host of other gear. Dive into highlights from our latest conversation with Bolton to learn more about his ongoing journey as a DIT and the kit he depends on most in the field.
How’d you become a DIT?
I’ve been in the motion picture industry since 2000, beginning with my interest in adventure sports photography. I attended the Centre for Digital Imaging and Sound, where I completed an intensive 14-month film and digital content creation programczx.
I also gave presentations for the local industry and the ICG 669 Camera Guild, which is how I transitioned into the DIT role. After training several camera crews on DIT duties, I was eager to return to set and pursue this role full-time. When the opportunity arose to work as a stereographic DIT on the second unit for Underworld: Awakening, I jumped at the chance. Shortly after, I joined IATSE 669 as a full member, and I’ve been a DIT ever since.
What training did it involve?
At the time, the closest role to DIT was that of a broadcast engineer, and training wasn’t available. Given my experience with the Sony broadcast live painting systems, the DIT role was a natural progression. Much of what I learned came from reading books and blogs online, but I also gained invaluable knowledge from the other technicians at Clairmont. Denny Clairmont, Alan Albert, Mike Conden, Bill Sturcke, Sergio Huerta, and Zack Soltes all played key roles in helping me build my expertise. Additionally, I had the opportunity to connect with people at ARRI, Sony, Cine-tal, and Panasonic. A lot of my skill set came through hands-on experience and sharing knowledge with others in the industry.
One of the most valuable groups I’ve been a part of over the past few years is DIT WIT, a tight-knit community of DITs from all over the world. I’ve learned so much from this group of fantastic professionals. Since we so rarely get to work alongside other DITs on set, this group—started by Jamie Metzger—has been incredibly helpful in expanding my knowledge and experience. As we like to say in the group, "Sharing is caring."
Tell us more about what the role entails.
It depends on the gig, and the role is constantly evolving, so it can vary greatly from one project to another. We handle so many small and large tasks that it can be difficult to explain exactly what we do without getting too into the weeds. At a high level, we help communicate the DoP’s creative intent to stakeholders downstream of the camera to ensure their creative vision is carried out while also meeting studio requirements.
For example, in episodic and feature work, my primary focus is often on helping design a camera-to-post workflow. This involves collaborating with the DoP and colorist to craft a specific look for the show and then helping to implement that look on set, using whichever live grading workflow is required. I help ensure that the camera bodies, monitors, and all the system components work correctly and accurately.
Commercial work is different. We often take on the role of the dailies house, creating on- or near-set dailies. We may also be involved in creating finishing-grade color corrections with the DoP to refine and craft the project's look as precisely as possible, often doing more than would be feasible in a typical live-grade scenario.
What makes a great DIT?
A great DIT is always learning and refining their craft. They frequently communicate with product vendors to help improve the tools they use. They also help others understand the craft, which helps validate their knowledge. Most importantly, on any set, they are friendly, easy to get along with, and flexible in their work. As for me, I am constantly learning from my peers, always striving to become a great DIT—one day at a time, while still chasing that goal.
How do you interact with various stakeholders on- and off-set?
From day one on any production, the most important working relationship is with the Director of Photography (DoP). A large part of what we do is helping craft the DoP’s vision on the screen. We also collaborate with the post producer to help design or adhere to a specific workflow. In addition, we work closely with the camera team to ensure that all the hardware, such as camera video transmitters and camera control systems, functions as expected.
We also frequently communicate with the finishing colorist, post-dailies houses, and dailies techs. Beyond that, we interact with many members of the production team in one way or another. This can include tasks like checking reference footage from previous days for lighting cues for the gaffer or reviewing how an actor looks in a specific setup with the makeup and hair teams.
How is the role of the DIT evolving?
When I started, digital acquisition was still new and had many limitations. Dynamic range was narrow, color depth was poor, and sensor noise was a constant challenge. Many productions were still tape-based, and a "look" was often baked directly into the image. Today, we have more tools at our disposal and can craft a look with far more creative control, but there is still room for improvement.
For example, most productions still use an HD SDR workflow with basic CDL adjustments and saturation controls. In the future, I hope to see more seamless ways to communicate live grading color with a wider range of tools available to finish within a live environment. Looking ahead, I envision a time when the DIT's responsibilities will incorporate more cloud-based workflows, where camera metadata is available to everyone working on set.
I see a future where the final look of a project is never fully "baked in" at any stage of post. Instead, it will be a layer that can be turned on or off, with a clear record of who made which adjustments and when. I also foresee a time when everything shot on set is instantly available in its RAW form to anyone who needs access. While many of these advancements are already happening in one form or another, they haven't yet matured into something that's widely adopted. It's only a matter of time.
What do you like most about your job?
It's ever-changing. The result is typically the same, but the process of getting there changes each time; every project presents a new way of assembling pieces. Being able to work in new locations and visit places you wouldn't normally go is also fun. But the cherry on top is the opportunity to work with some really interesting people. The stories they share about their past projects are always fascinating.
How do you decide which projects to take on?
I try to take on projects that are a little "out of the box," preferably with people who have extensive experience in the motion picture industry. This way, I get to make a living while also learning at the same time. It's typically a great work environment, as no one is trying to impress others or step on anyone to get ahead—something that can unfortunately happen in this business.
