LET’S GET IN TOUCH
I’m a Digital Imaging Technician based in Uithoorn, the Netherlands. Working on both long format fiction and commercial projects.
With experience on streaming-original productions such as Dirty Lines, The Takeover and Modern Love: Amsterdam, I am up to date on the requirements and protocols imposed by the studios. Of course I also work for non-streaming productions in the form of feature films, TVC’s and television series. Both local and international.
Are you interested in a call? Please send me an e-mail and I will get back to you. You can find my IMDb on the left or you can request a full project overview via email. Nice to e-meet you!
Data management
Safe and fast checksum verified copies are the backbone of a DIT. Every bit gets neatly organized and documented in custom reports. Human readable reports will keep (post) production up to date, where the more technical .mhl’s will fulfill streaming mandates. This way you can be assured your important footage is safe.
on set color grading
On set color grading can be fitted to suit every production. From just delivering graded dailies to live grading real time for everyone on set to see. Because I use industry standard workflows the grades can easily be imported during post production. This gives the director and cinematographer the confidence that the whole pipeline represents their vision.
Quality control
Performing QC on set gives you confidence the shot footage is usable for production. Spotting for issues like dead pixels, moiré, dirty lenses, out of sync timecode or even corrupt files. Doing these checks on set means they can be resolved right away. Detected issues will be communicated to post production to keep them up to date.
Metadata supervision
In modern workflows metadata plays an important role in the communication between set and post production. From simple scene/slate/take info to frame by frame lens data. I keep track of this metadata and make sure it ends up where it's needed. Having this information at hand is also valuable on set for matching to previously shot footage.
Online dailies
Supplying the crew and clients with online dailies on the same day the footage has been shot. They are often fully uploaded within an hour after wrap, so they can be reviewed when the shooting day is fresh in everybody's mind.
Sync audio
For both the online dailies and editorial it is important to have clear audio. By syncing to the production audio I make sure everybody listens to the right tracks. Delivering a synced and logged Avid project is also a possibility.
Transcoding
By transcoding on set the gap between production and post productions is shortened. Making it possible for on set editors to start editing moments after a clip has been shot. With the right infrastructure this is even possible for editors off site.
Distribution
After the shoot assets need to be supplied to the post vendors. Distribution can take place offline or online. Making sure everybody has what’s needed to do their job. All while making sure everything is protected and conforms to the protocols in place.
