PRODUCTIONS WITH A SMILE
On-set DIT services across Spain — colour-managed, ingest to post-house handoff.
One cart, one pipeline, one English-speaking operator. MacBook Pro M3 Max with a Jellyfish Mobile 20 and SNS EVO 16 failover; calibrated reference and a Teradek Bolt 4K to the client tent. Silverstack and LiveGrade for motion, Capture One for stills, Resolve Studio for grade exchange. ProRes LT proxies cut same-day; full-res ProRes 4444 XQ and ARRIRAW land in the colourist’s bin by wrap.
The Spain fashion-DIT problem is not competence — it is colour handoff. Most cart operators here back up cards clean, but they will not hand your London colourist a CDL sidecar with a matching show-LUT baked against the first tests. That is where the day is lost — not on set, but on the Monday after, when the grade starts from zero. We run a fashion-first cart — calibrated reference matched to the Capture One output on the stills side, Silverstack to Resolve exchange on the motion side, CDL and LUT baked and handed over with the rushes so grade starts at hour one, not hour ten.
What we handle on set
Motion DIT
Silverstack offload with checksum, LiveGrade LUT authoring, show-LUT to Teradek Bolt, ARRIRAW/X-OCN/REDCODE handoff, CDL and LUT .ale/.edl to the colourist. Pipeline covers Arri Alexa 35/Mini LF, Sony Venice 2/Burano, RED V-Raptor.
Stills DIT
Capture One Pro session, calibrated FSI reference, X-Rite i1 profile for the shoot, Phase One XF IQ4 and Hasselblad X2D tethered, auto-backup to Jellyfish, IPTC and client-proof export to iPad between frames.
Proxy Delivery
ProRes 422 LT (1080p or UHD) for the cutting room same-day; ProRes 4444 XQ and ARRIRAW/X-OCN archive to colourist that night; transfer via WeTransfer, Aspera or client-hosted S3, whichever the post house accepts.
Cart Configurations
Config A (photo-only): MacBook Pro M3 Max 128GB, Capture One, Jellyfish Mobile 20, reference monitor, Teradek to client tent. Config B (motion-light): Config A plus Silverstack, LiveGrade, Codex Compact Drive reader. Config C (campaign, multi-cam): MacBook Pro M2 Ultra, Jellyfish Mobile 20 primary, SNS EVO 16 mirror, Codex Vault, LTO-9 archive, LiveGrade Pro, twin references, Teradek Bolt 4K 1500.
CDL Exchange
ASC-CDL written on set, LUT baked against first-test plates, Resolve .drp or .xml delivered with .ale and reference MP4s; optional ACES CTL sidecars for high-end finishing. Post houses we pipeline with include London grading suites, Paris colourists and Berlin finishing houses.
Cross-island mobility
Cart lives between Ibiza and Berlin. Mallorca day-trip via Baleària sailing or charter to Palma, same operator, same config. Formentera via morning Aquabus. Berlin via direct flight on the same contract, same invoice.
Recent work
How we work
Spec lock
DP or photographer sends the body list, codec preferences and post-house contact; we send back the matching cart config and a draft folder structure. Confirm feasibility the same afternoon.
Test day
Half-day on location or at the bench before the shoot — reference monitor calibrated to Capture One output, show-LUT baked against test plates, Teradek pairing tested, backup operator briefed if the campaign runs more than 3 days.
Roll cameras
Silverstack and Capture One on parallel threads, LiveGrade pushing show-LUT to client monitor, backup copy running to SNS EVO as primary lands on Jellyfish, LTO-9 archive spinning from midday. Three-copy rule on every card before re-format.
Handover
ProRes LT proxies uploaded to editor’s bin by wrap; ProRes 4444 XQ and ARRIRAW and Capture One session and CDL .ale and show-LUT to colourist that night; written QC and checksum report with the invoice within 14 days of wrap.
Most dit services spain searches split two ways — commercial TVC operators who know cards and checksums but treat colour as the colourist’s problem, or photographer’s assistants moonlighting with a hard drive and a laptop. Neither works for a campaign that has to hand London or Paris a grade-ready delivery the night of wrap. Lovely CPS runs a fashion-first DIT bench as part of Spain production services — MacBook Pro M3 Max or M2 Ultra at the head, Jellyfish Mobile 20 primary storage with SNS EVO 16 mirror, camera and grip rental on the island available alongside, Codex Compact Drive and Vault readers, LTO-9 archive, Teradek Bolt 4K to the client tent, calibrated reference (X-Rite i1 profiled at shoot start), Pomfort Silverstack and LiveGrade Pro for motion, Capture One Pro for stills, DaVinci Resolve Studio for grade exchange. Operator on headset, English on set, CDL and LUT handed over in the format the post house already uses.
Sub-services cover the full pipeline. On-set dit fashion means colour-managed tether — Capture One with Phase One XF IQ4 150MP or Hasselblad X2D 100C and H6D-100c, calibrated reference, auto-backup to Jellyfish, IPTC client-proof to iPad between frames. Combined photo and film means both halves of the cart on the same day — Silverstack ingest for Arri Alexa 35, Alexa Mini LF, Sony Venice 2/Burano or RED V-Raptor; Capture One tether for the stills side working parallel; one operator, one folder tree, one CDL exchange at wrap. Proxy delivery runs ProRes 422 LT for the cutting room and ProRes 4444 XQ plus ARRIRAW/X-OCN to the colourist — typical multi-camera campaign days run 6–18TB ingest depending on format and camera count. For full fashion campaign production the DIT cart ships as part of the wider production service.
Cross-island is the quiet edge. Dit ibiza and dit mallorca share one cart, one operator and one ferry plan — Baleària overnight from Palma if the day-trip goes over the Tramuntana, Aquabus to Formentera if the shoot drops south. The Ibiza production crew and kit are the home bench; Mallorca shoots travel on the same contract, same operator, same config. When a brief extends to Berlin production, that legs on the same invoice. One operator, one invoice reconciled so your agency’s accounts desk does not chase two sets of paperwork. English on set by default, Spanish and German on request, post-house handover in whatever pipeline the colourist already runs. Quote in 24h, cart on an early flight if the shoot is mobilising fast.
Questions we get a lot
DIT vs digital tech — what is the difference on a fashion shoot?
On a motion set, a DIT owns ingest, colour pipeline, proxy delivery and grade exchange. A digital tech, in the UK and US stills sense, owns the Capture One tether, client proofing and file management on photo-only calls. On a fashion campaign that shoots motion and stills on the same day — which is most of them now — you need one operator who can handle both. We run one machine on Silverstack ingest and a second on Capture One tether, or both on an M2 Ultra when the codec load allows.
Do fashion e-commerce shoots need a DIT?
Typically yes, and usually because of volume rather than colour. A 200–400-look e-com day running Phase One IQ4 or Hasselblad X2D files can generate several terabytes that have to be named, IPTC-tagged, triple-backed-up and handed to retouch cleanly. That is a full-time DIT role — or the photographer is doing it at midnight on a laptop, which is how frames get lost. Our Config A cart is built for exactly this scenario.
What is the Arri to Resolve pipeline you use?
On Alexa 35 or Alexa Mini LF — ARRIRAW or ProRes 4444 XQ recorded in-camera to Codex Compact Drive or SxS, offloaded in Silverstack with MHL checksum, LiveGrade Pro writes ASC-CDL plus a baked LogC3/LogC4-to-Rec.709 show-LUT, and we export an .ale plus .edl with the CDL attached plus reference MP4s in Rec.709. The colourist opens that in Resolve Studio and lands at a timeline already matching the client monitor from set. No re-conform.
What does colour-managed stills on set actually mean?
Capture One Pro running a session with an ICC profile generated that morning against a calibrated reference and an X-Rite ColorChecker shot at the start of every setup. The client monitor at the tent runs the same ICC profile; the iPad proofing app shows the same render. When the retoucher opens the RAWs, they start from the same colour the client approved on set, not a new interpretation.
Can you handle high-volume campaigns — what daily ingest volumes?
Typical two-camera 4K ProRes 4444 XQ day runs 6–8TB ingest. A 6K REDCODE RAW or X-OCN day runs 8–12TB. 8K RED V-Raptor VV or Sony Burano 8.6K campaigns run 12–18TB. Config C cart covers all of it — Jellyfish Mobile 20 as working primary, SNS EVO 16 mirror, LTO-9 tape archive running from midday. Three-copy rule on every card before re-format; LTO checksum verified before the invoice goes out.
Can the cart move across islands with one operator?
Yes, and often in a single campaign. Ibiza is the home bench — between Santa Gertrudis and San Josep, close to IBZ airport and Port d’Eivissa. Mallorca day-trip via Baleària 09:00 sailing or a charter flight to Palma, cart in a flight case, same operator, on location by midday. Formentera via the 07:00 Aquabus, on unit base by 08:30. Berlin is a direct flight on the same contract if the brief needs the second city.
Is the cart English-first on set?
Yes. Operator is English-native or English-fluent; cart UI in English; file-structure documentation in English; post-house handover notes in English. Spanish and German on request — useful when the rental house in Palma or a location owner needs a paper receipt. UK, US, Paris and Berlin agencies are the typical clients; we have not run a shoot with Spanish as the primary on-set language.
How do you handle confidentiality on unreleased campaigns?
NDA before any material leaves the drive, by default. Pre-release campaign assets are kept off cloud-shared drives and handed to the colourist via secure transfer only. Portfolio attributions are on request — which is why most of our project tiles read as brand-only rather than naming full creative teams. We counter-sign your NDA or use ours.
Send us a brief
Tell us the body list, codecs and post-house contact. We will confirm cart config and availability by return.
NDA by default. We keep client, codec list and post-house contact under wraps.
