Digital Imaging Technician and/or Data Manager

Almost a decade into the Digital Cinema Revolution and industry people still have a hard time defining what it is that a DIT or Data Manager do while on set.  The truth is no matter which camera system you are using from ARRI, Red, Sony, Panasonic or Canon all of your digital media will pass through the hands of your DIT or Data Manager.  The need to hire someone who is dedicated, confident and proven successful time and time again can not be understated.


Camera Technologies

  • Confirming Camera Shooting Specs
  • HD Video Signal Scopes Analysis
  • Mobile DIT Cart with Battery Backup

Color and LUTs

  • Develop 3D LUT Designs for Camera Profiles
  • Work with pre-made LUTs provided by DP
  • Create 3D LUTs for post matching scenes on location

Secure Digital Acquisition

  • XXHash-64 and MD5 Checksum Verifications
  • Thumbnail Metadate Reports
  • 8TB Raid for 3rd Redundant Media Backup

Transcoding & Storage

  • Raw File Transcodes
  • All major Codecs ProRes, DNxHR, Cineform
  • Maintain copies of media for 2 weeks for safety

Editorial Dailies

  • One Light On Set Coloring
  • Davinci Resolve for Superior Conforming
  • 4K Playback & 4K I/O Control

DI Color Finishing

  • MacPro 8core with Dual 6GB Graphics Cards
  • Flander’s Scientific CM171 Reference Monitor
  • Tangent Element Control Panels

Data Manager

Downloading multiple copies while running checksum verification.

Data Manager

Digital Imaging Technician

Developing looks with the DP and transcoding dailies for post.

Digital Imaging Technician

Understanding what your project needs for a successful workflow are our specialty.

CODEX Data Managment

Where the Pros come to play...

Video Scopes

When you can't trust your eyes, Video Scopes never lie to you

The Old School System

There are many ways to keep track of where you are. Use them all!!!

Downloading KIT

– Apple Retina MacBook Pro (2.6 GHz, 16GB RAM)
– REDMAG 1.8″ Reader
– Sonnet ExpressCard Thunderbolt
– APC – Back-UPS XS 1500 VA Tower UPS
– Filmtools Thin Profile Junior Cart
– Apple Thunderbolt Cable
– Kingston FCR-HS3 15-in-1 USB 3.0 Media Reader
– Thermaltake BlacX Duet SATA to USB Adapter
– LaCie eSATA Thunderbolt Adapter

– Shotput Pro 6
– Hedge
– DaVinci Resolve 12.5

DIT Transcoding KIT

– Mac Pro 8-Core
– 64GB 2400MHz DDR3 RAM
– Graphics:  2 x AMD FirePro D700 6144 MB
– Available ports on computer: 6 x Thunderbolt 2, 4 USB 3.0, HDMI
– Wacom 13″ Touchscreen LCD monitor (calibrated)
– Flanders Scientific CM171 Grading Monitor Class A (calibrated)
– Tangent Devises Element Control Surface
– Blackmagic Design Decklink Thunderbolt
– Sonnet Echo Pro Thunderbolt ExpressCard/34 Adapter
– 2 x Apple Thunderbolt-to-FireWire 800 Adapter
– Lexar Thunderbolt / USB 3.0 Memory Card Reader HR2
– Lexar Thunderbolt / USB 3.0 SSDs 4 x 512GB & 6 x 256GB
– Lexar USB 3.0 SD / SDHC / SDXC / CF / UDMA Memory Card Readers
– Various data cables (Thunderbolt, eSATA, FireWire 800, FireWire 400, USB)
– APC Battery Backup UPS

– Silver Stack Lab
– Shotput Pro 6
– Hedge
– DaVinci Resolve Studio 12.5

The DIT Cart

When you shoot film you have a film lab. With Digital Cinema you have a DIT cart.

DIT Projects / Clients

  • BrightHouse Networks
  • Callaway Golf
  • Checkers/Rally Restaurants
  • Dell Computers
  • Disney Theme Parks
  • Doritos
  • Florida Pre-Paid College Fund
  • Harley Davidson Motorcycles
  • Korbel Champagne
  • Laser Spine Institute
  • Major League Baseball
  • Nat Geo
  • NFL Network
  • Nova University
  • Pep Boys
  • Pittsburg Pirates
  • Publix SuperMarkets
  • Sony PlayStation
  • Tires Plus
  • Toronto BlueJays
  • Wilson Sporting Goods

Workflows & Formats Supported:

  • RED One/Epic/Scarlet (4K, 2K & HD)
  • Arri Alexa (Raw, ProRes & 10-bit uncompressed)
  • MXF / DNxHD & DNxHR
  • CinemaDNG RAW
  • Cineform
  • AVC-Intra/AVCHD
  • P2
  • DSLR (Canon, Nikon, Sony and Panasonic models supported)

It takes passion and drive to excel at anything. Over the years I have done many jobs with Rich and what impresses me the most is his constant pursuit at understanding this ever changing digital age of motion and color. He pays attention to the details, including the management of files, pre-edits and LUT’s, as well as the conversations with cinematographers and directors in creating and achieving a certain vision for a project. I look at Rich as more than the complete package but a leader in the industry. Always the professional, he continues to study and evolve his craft so that you always have the highest in color, edit and data management by your side.

Michael McCourt

Director, D.G.A., Washington Square Films

Equaling Rich Roddman’s expertise in color grading is his vast knowledge of tools he uses to master that craft and his on-set DIT skills.  I’ve witnessed Rich’s ability to smooth out difficult production practices or troubleshoot atypical ones with a confident DIT composure that installs a calming mood in a project from pre-production LUT creation through a seamless edit.

Dave A. Barrett

Director of Photography , Magic Hour

Rich is one of the most professional individuals I’ve had the pleasure of working with over the past 20 years. His knowledge of “all things technical” is only surpassed with his people skills. His expertise in working with file based HD workflows is second to none and he has the ability make everyone on the crew comfortable with the nuances that systems such as the RED bring to the shoot. Highly recommend his work as a DIT. Bill Mills

Cinematographer, Florida Film & Video