DIT
The Head of the department is the camera department rather than the post-prod.
Raw pathway: Check -> Reports -> Cloning -> 2 Backups (different locations)
Proxy pathway: with LUTs in Resolve
Report: Clip-name, reel, slate, take, camera notes on mistakes/missed timings/anything different from the shooting plan — a camera assistant would normally be responsible for this.
Checksum: a mathematical process of checking the code between the original versus copied files.
20% of the drive must be left empty to not put additional pressure on it during DIT, but also consider that the average life of any drive is around 6 years. These elements contribute to a higher risk of corruption. Something I want to keep note of, so my drive is 1TB, to which 20% of that is 200GB, that's more than I thought it would be, so now I understand the importance of asking for drives to be considered in budgets.
What to ask: professional standards
Ask the producer/line producer how many drives are feasible, you’d ideally want three.
Ask the cinematographer or someone in the camera department what camera/resolution/file type/colour space they are going for and whether they are planning on-set viewing.
Ask sound recordists to ALWAYS record sound, even if they feel it is not necessary.
You need to check the files and ensure that there are no files missing. It is recommended against being DIT as well as script supervisor. I did not know this until recently, in the past I did both DIT and script supervision, but I suppose that is the nature of student film shoots and not something that is taken forward into professional practice. I feel that I am happy to prioritise script supervision over DIT, so I will look into discussing my options with my producer upon our next meeting.
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