Post Notes

→ Part of The Dailies Workflow series

Yes, the DIT and Loader are members of the camera department, but they are the primary bridge between production and post. They play a vital and direct role in the dailies process and ensure that what the DP is looking at on set is what everyone else will see too. And they must do so quickly with an extreme attention to detail.

Where the rest of the camera department is primarily focused on the logistical setup and shot itself, the DIT is focused on how that shot will play as soon as it’s in the can, and the Loader is focused on the handoff. If you want to understand how a show’s footage gets safely, correctly, and completely from production to the cutting room, this is where that journey begins.

Two jobs, two very different skill sets

The DIT and the Loader often work side by side, sometimes out of the same cart or truck on set, but they are not doing the same job. It’s worth separating them clearly before going further.

The DIT, or Digital Imaging Technician, is a creative and technical role. They work directly with the DP, advising on lighting, contrast, focus, and color, and they carry the intended look of the show forward from set into the footage itself. It’s a role post-production genuinely depends on, because a good DIT means the dailies already reflect something close to the DP and Director’s vision, long before a Colorist ever touches the footage.

The Loader, by contrast, is entirely about the data. Their job is to take the cards coming off the camera, back them up correctly, verify that backup, and manage the physical media so the cards can go safely back into rotation. It’s meticulous and absolutely critical. A single missed step here can mean lost or corrupted footage, and lost footage is unacceptable.

The DIT’s tools and role

On set, the DIT works with digital color programs like Pomfort LiveGrade, applying color looks in real time.

In LiveGrade, they build temporary color profiles called LUTs (Look-Up Tables) and CDLs (Color Decision Lists). These small data files define a specific color look and are applied to the video feed so that monitors on set, and eventually the dailies themselves, show something close to the intended look rather than raw, flat Log footage. Those LUTs and CDLs travel on the hard drives with the footage to be applied to the proxy files by the dailies facility. These looks are included in the files sent to editorial and creatives.

Industry Note

This on-set color pass isn’t the final grade. A dedicated Colorist will complete that later. The DIT’s work is a preview, a placeholder for intent, and good enough that nobody has to guess what the show is supposed to look like.

The Loader’s data pipeline

Once the cards come off the camera, the Loader’s job begins.

First, the cards are logged, then all the media is offloaded and copied onto shuttle drives and large on-set hard drives for redundancy. Software like Pomfort Silverstack handles the transfer. Critically, it verifies the copy using a checksum, a kind of digital fingerprint that confirms every single bit of data made it across correctly. This isn’t optional and it isn’t quick. A checksum failure means the copy is not trusted, and the process runs again until it is.

Once a card’s media is verified, safely offloaded, and backed up to the on-set drives, the Loader gives the ok for the shuttle drives with the media to go to dailies facility. The cards cannot be wiped or go back into rotation at this time. Right now, they’re still untouchable. This is the discipline that protects a show from ever losing a day’s work to a bad card or a rushed backup.

Pro Tip

Multiple backups are crucial to protect media. The on-set hard drives will be locked and do not leave set, nor can they be erased without strict approval from post. They are a primary backup during production.

Custody chain of camera cards

A card being offloaded doesn’t mean it’s immediately wiped and handed back to camera. It’s held. For good reason.

The Loader keeps physical custody of every card until post-production confirms that the footage has been safely received, checked, fully QC’d, and accounted for at both the dailies facility and in editorial. Only then does an assistant editor send the ALL CLEAR, the email or confirmation that specific cards are safe to wipe and re-enter rotation. It’s a system built entirely around verification, not assumption. Production has a finite number of cards in rotation, so timely clearance is the responsibility of post, without sacrificing certainty.

Transportation: the unsung leg of the relay

Getting footage physically from set to the dailies facility is its own job, and it typically happens twice a day.

At lunch break and at wrap, the Loader hands off the shuttle drives carrying the freshly offloaded and color-tagged footage to the transportation department. Transpo physically drives those drives to the facility, and on the way back, picks up drives staged for return to set for the next round of dailies. It’s straightforward, but an essential and timely part of the dailies process.

While some tasks can run in parallel, the offload and verification process is relatively linear, and certain tasks need to be completed before the next one can start.

Why this matters to you

If you’re trying to break into post-production, you must recognize and understand the importance of the DIT and Loader roles in the post process. Their jobs bridge the creative and technical boundary on set.

Without the original camera media, the film or show cannot exist. Protecting that media is the absolute most important job of anyone on set and in post-production. Knowing the chain of possession, backup and verification procedures, and protection protocols is key knowledge for any post role. It’s the difference between hoping something worked and knowing it did.

Continue the workflow:

← Back to The Dailies Workflow: Department Breakdown & Who’s Involved

IN DEPTH · COMING SOON: Production Sound & On-set Audio Recording

IN DEPTH · COMING SOON: Inside Dailies Processing (Facility & Remote Models)

Before any film or TV show can start a single day of shooting, the dailies workflow must be solidified across multiple production and post departments. The workflow design and implementation are the responsibilities of post. As soon as the footage leaves the camera, the workflow takes over and post becomes the keeper of the media. It’s their responsibility all the way through delivery.

This article is your map to that process. Below lists every department involved in the dailies process and the role each one plays. Each section links to a full department breakdown where we dive deep into the people, media, the paperwork, the gear, and the real-world protocols that keep a show’s footage safe at the end of each shoot day.

With so many parties involved and the clock ticking, the pipeline can be described as one thing: a relay race. While the crew sleeps, yesterday’s footage is verified, synced, colored, and converted, so that by the time editorial sits down with their coffee, the previous day’s work is waiting in the cutting room. Every department below is a runner in that relay.

1. The Camera Department

Where everything originates. Takes are shot onto camera cards (think very fast, very large SD cards) and once a card is full, it’s handed off for backup and transfer to the dailies facility for processing.

Yes, digital film still needs “processing.” And if the show is shooting true film, those rolls are boxed, logged, and sent to a film lab.

IN DEPTH · The Camera Department

2. The DIT & Loader

Technically part of the camera department, they run the on-set half of the dailies operation. The DIT brings color science and look-dev, working with the DP on the dailies look that travels with the footage. The Loader backs up every card and verifies copies, holding custody of the media until post confirms it’s safe for camera cards to go back into rotation.

IN DEPTH · The DIT & Loader, Software, and Data Management

3. Production Sound

Sound is recorded completely separately from picture. The Production Sound Mixer captures every mic onto a dedicated recorder using its own cards, own rolls, and outputting its own reports. That media then rides the same relay as the camera cards. Picture and sound don’t meet until the facility marries them overnight.

IN DEPTH · COMING SOON — Production Sound & On-set Audio Recording

4. Transportation

The unsung leg of the relay: Transpo physically moves the media and drives from set to the DIT / Loader, and then Loader to facility, typically twice a day, and returns yesterday’s drives to set for re-use. Transpo is key, as efficient and communicative transportation saves time and money.

Transpo’s involvement can be found throughout the other In Depth articles.

5. The Script Supervisor

While everyone else handles the footage, the Script Supervisor creates the paper trail that makes it usable: which takes cover which lines, which cameras rolled, which takes the director circled, and the continuity notes for the Editor. Script Supervisor paperwork is the roadmap for editorial to navigate all the footage and audio to build the edit.

IN DEPTH · COMING SOON — The Script Supervisor

6. The Production Office

The central hub of the entire production. They ensure everyone on the production side of dailies is where they need to be and when. Reports and logs flow through the office to everyone who needs them, and requests between set, producers, and post usually route through the production staff. A good relationship between post and production is paramount.

IN DEPTH · COMING SOON — The Production Office’s Role in Post

7. The Dailies Facility

Overnight, the facility verifies the media, syncs sound to picture, applies the dailies color, and converts the massive camera masters into proxy files for editorial, and viewing files for the creatives, studio, and network. Both physical and remote processing options are now offered at many facilities.

IN DEPTH · COMING SOON — Inside Dailies Processing — Facility & Remote Models

8. Editorial & Post

The handoff. Once dailies are processed and paperwork distributed, the proxy files land with editorial so the Editors can start cutting, and the post team releases viewing dailies through a secure platform to everyone who needs them. The relay’s finish line, which is also the starting line of the edit and post-production pipeline.

IN DEPTH · COMING SOON — The Editorial Handoff & Viewing Platforms

9. The Archive

After the footage and sound has been processed and proxies delivered, the camera and sound masters are put to sleep. They are backed up to archival tape, duplicated, and stored in separate locations so that no single disaster can take a show’s footage with it. Archival and redundancy isn’t exciting, but it’ll save the show should anything ever go wrong.

IN DEPTH · COMING SOON — The LTO Archive

As you can see, there are many moving parts at every step of the dailies process, and it takes a significant amount of preparation and coordination to ensure all departments are working together efficiently every single day. Start with whichever department you’re interested in, or read them in order and follow the footage from the camera card to the vault.