DIT & Data Technician Services

Here is how the work shapes up. Chinese drama and feature production now routinely captures multi-camera Alexa 35, Venice 2, Burano, V-Raptor, and DJI Ronin 4D sessions at 4.6K to 8K, often shooting fifty to a hundred terabytes per week across a single iQIYI or Tencent Video series. The DITs in our network are built for that volume. They work from carts running Codex Vault systems, ARRIRAW and R3D transcoders, and DaVinci Resolve for on-set look management, run dual-redundant offload to RAID arrays plus LTO-9 archive, check each transfer with Silverstack and YoYotta checksum tooling, and hand finished dailies into the post pipelines that Base FX Beijing, More VFX, Beijing Film Group post, Shanghai Film Studio post, iQIYI Post, and Tencent Pictures Post actually consume.

Here is how this works in practice. They know the NRTA-aligned broadcast spec for iQIYI, Tencent Video, Youku, Mango TV, and CCTV, and they format CDLs, ALE files, and ACES-compliant metadata exports so editorial in Beijing, post-houses in Shanghai, or VFX vendors at Pixomondo Beijing can ingest without manual cleanup. Sony X-OCN ST and LT transcodes are routine. The network covers the full V-Raptor R3D and ARRI MXF workflow without compromise.

Here is how it adds up. On-set colour is a separate layer of the service. DITs in the network calibrate their reference monitors with Calibrite Display Plus and X-Rite probes daily, build show LUTs in joint work with the cinematographer during prep, and keep shot-by-shot CDL adjustments as scenes unfold. For shows that need a more developed look on the floor — mainly Frant Gwo-school tentpole shoots and high-end iQIYI originals. They run live grading directly in Resolve, including hero takes for client review.

Here is the run-down. The picture on the ground is more specific. Security and chain-of-custody is non-negotiable on Chinese shoots tied to Netflix, Apple, Disney, or major brand campaigns, and above all on titles touching Cybersecurity Law, Data Security Law, and PIPL 2021 cross-border restrictions. Our DITs work to studio TPN guidelines, log each drive transfer, and set up encrypted hand-off to the post facility's data manager under PIPL-compliant talent-image and metadata handling. Where the production is shooting at Hengdian, Qingdao Wanda, or split across many Chinese cities, we staff DITs and second-unit data managers as a team so the workflow stays uniform across each unit.