DIT & Data Technician Services

Korean drama and feature shoots now routinely capture multi-camera Alexa 35, Venice 2, and V-Raptor sessions at 4.6K to 8K. A single show can log fifty to a hundred terabytes per week. The DITs in our network are built for that volume. They work from carts running Codex Vault systems and DaVinci Resolve for on-set look management. Each shoot also gets dual-redundant offload to RAID arrays.

Each transfer also goes to an LTO-9 archive and gets checked with checksum tooling. The team hands finished dailies into the post pipelines that DEXTER Studios, Mofac, Macrograph, and the DMC hub post houses use. They know the K-content broadcast spec, including ATSC 3.0 deliverables for KBS, MBC, SBS, and JTBC. They also format CDLs, ALE files, and metadata exports. Editors in Seoul, post houses in Paju, or VFX vendors in Sangam can then ingest the work without manual cleanup.

On-set color is a separate layer of the service. DITs in the network calibrate their reference monitors daily with X-Rite or Calibrite probes. They build show LUTs with the cinematographer during prep and tune shot-by-shot CDL adjustments as scenes unfold. For shows that need a fuller look on the floor, they run live grading right on Resolve. This includes hero takes for client review.

Security and chain-of-custody are non-negotiable on Korean shoots tied to Netflix, Apple, Disney, or major brand campaigns. Our DITs follow studio TPN guidelines and log each drive transfer. They also set up an encrypted hand-off to the post site's data manager. Some shoots run at Busan Cinema Studios, on location in Gyeongju or Jeju, or split across many Korean cities. For these, we staff DITs and second-unit data managers as a team so the workflow stays uniform across each unit.

Most of our DITs work bilingually in Korean and English. They take a workflow spec from an overseas post supervisor, then liaise in Korean with the camera team, the rental house, and the DMC hub post facility receiving the dailies. That bridge keeps the pipeline clean on a KOFIC-qualifying foreign shoot, where the data trail must hold for the cash rebate audit as well as for editorial. We brief the DIT on the deliverable spec for Netflix, Disney+, or Coupang Play before the first card is offloaded.

We deploy DITs on day rates quoted in Korean Won, with the standard 10% VAT shown as a separate line. The cart, RAID stack, LTO drive, and calibration kit are each listed apart so the package reads clearly. A single data day, a multi-camera drama block, or a split-unit job across Seoul and Busan are scoped up front. We vet every technician on camera-system breadth, a clean record, and TPN-aware handling, then confirm storage, redundancy, and post handoff in writing before the booking locks.