D.I.T · Motion Control · Paris
Paris · Working in film since 2009 · FR / EN / ES
The D.I.T is the link between the shoot and post: flexibility for the DOP, peace of mind for production on the safety of the rushes, and the right data handed over to post.
Where the gaffer shapes the colour of the light, the D.I.T handles the signal: advising the camera on how to process the image, then taking care of it once it’s out. A look to apply, or to find when none exists yet, built on Livegrade. Grain added when the project calls for it. A look carried consistently through the shoot, matched across multiple cameras on a runway show. A rough green-screen key so a shot reads before the VFX exists. An XR wall matched to what the camera actually sees. A secure stream for whoever follows from elsewhere. Logos, framelines or other overlays live on the monitor. The real point is keeping the technical conversation flowing between departments, so the creative side has the time it needs.
A second, complementary service: Motion Control. When a move has to repeat identically take after take, a robot arm holds it to the millimetre. The DOP can also frame it by hand on an iPad or iPhone for something more organic, then hand it back to the robot to replay exactly.
Available now, Paris, France and abroad
01 / Stills
Behind the scenes: carts, monitors, camera tests and the robot, on set and near set.
02 / Services
The technical spine of the shooting day, so the camera team can concentrate on shooting.
Through DI-boT: a robot arm that plays a programmed camera move back exactly, as many times as you need.
Decisions made in front of a calibrated monitor, days before the crew is standing around waiting for them.
Depending on the shoot, small touches on the monitor that help people read a shot faster, without waiting for post.
03 / Track record
What we agree on with the camera is what reaches the grade: no drift, no “fixed in post,” no surprises when you sit down to review.
I'd rather spend an extra hour in prep than watch a look drift on day three. Whatever we agree on with the camera in tests is what I hold for the rest of the shoot.
My first years were live stereoscopic 3D: opera at the Opéra Garnier, rugby and football broadcasts, the first 3D runway filming for Dior. Twelve cameras, live, no retake. It teaches you to plan for what will break and to stay quiet when it does.
Features, documentaries and music videos on Baselight and Resolve. I no longer take grading work, but I know what post needs from me, and what a badly set LUT costs three weeks later.
I trained as a developer in 2020, so when a shoot needs a script, a naming convention or a piece of automation that doesn't exist yet, I can usually put one together rather than work around it.
Fifteen years of campaigns, beauty and runway. Short prep, high standards, agencies watching the monitor. I know how those days run and how to keep them calm.
On bigger units I bring, or work alongside, a dedicated Qtake operator so playback never competes with data management.
French, English and Spanish. Comfortable on international crews and on shoots that move between countries.
Member of A-DIT, the French association of Digital Imaging Technicians, president from 2018 to 2020. If I’m not available, the association is the place to find a D.I.T.
a-dit.com04 / Log
05 / Filmography
Around 260 shoots since 2009. Grouped by discipline rather than date. The full chronological filmography is in my CV.
8 entries
12 entries
16 entries
3 entries
8 entries
7 entries
8 entries
The complete filmography (around 260 productions with directors, DOPs and production companies) is in my CV. Ask me and I’ll send it over.
06 / Archive
I no longer take grading work. Kept here because it’s the reason I know what post needs from a D.I.T.
07 / References
From directors I worked with in the grading suite.
Alexandre colour graded my last short film and my last documentary. It was a pleasure, an Olympian calm through every technical adventure. He has a fine eye, and knew how to value both films in two very different aesthetics.
He not only brings his large technical knowledge but also a pertinent vision on the options to take regarding the sense of the scenes. Certain results felt like magic, but in fact they came from his artistic talent.
Many colourists have one style and try to impose it on every film. Alexandre is attentive to each piece, always intent on bringing a specific aesthetic in correlation with the film's intentions. This is rare and precious.
The blending of the different levels of the film was one of the major challenges. Alexandre understood precisely all the artistic and technical aspects of the project.
08 / Contact
A DOP planning tests. A production looking for a D.I.T for one day or a full campaign. A shot that needs a robot. Write or call, and we’ll work out what the day actually needs.
AlexandreSinn@gmail.com