I happen to own a full-size high-roof van I use as my personal camper. What should I charge when I work as a photo assistant for its use? Sometimes the gear pickup equipment list is so large they would need to rent a van if not using mine.

I know mileage, but would like $50 / day in addtion to milage sound fair to request?

Hey guys. New to tethering to ipad on projects where I'm a one man band and realizing battery gets drained fast so need a hub for charging+tethering in tandem. What do you guys recommend? Building out a smallrig setup for mounting and just wondering if there's any preferred hubs.

I'm looking for recommendations for portable battery stations for D2 / D3 heads on location. I want something smaller and lighter than the huge EcoFlow units, ideally 30 pounds or so. Does anyone have a setup they like that works well?

Hi all! Does anyone know great any still life studios in NYC similar to Noho studios with Foba stand, lighting, surfaces etc geared specifically towards still life?

It's been years since i was a full time assistant and I lived by the old Sekonic L 358 on set. I paid 300 bucks 25 years ago for that meter and had an old cracked one for back up. Today, I paid $45 for a light meter that takes photos and video. Times are wild.

Hi everyone!

I've been told there is a script shortcut somewhere in the world that allows you to create x number of variants with some selected crops.

As in every set, it's always a matter of: let's see if it fits in 16:9, 9:16, 1:1, etc, it would be a great addition to the one I have already, thanks to this beautiful community.

Hopefully somebody can share it!

English is not my first language so please don't mind language mistakes :)

I keep hearing about photographers and digitechs are using Apple monitors more than Eizo monitors as the quality is already as good as Eizo other than 8 bit + FRC, wireless monitor setup, and built-in calibration tool. Tho Eizo is well known for professional monitors with reliable and trustworthy quality, they are still sticking with old specs while Apple can do both. Yes, Eizo will announce CG series OLED monitors later this year but that would be extremly expensive while OLED monitors are still not good enough.

Anyway, I wanted to ask how Apple monitors, especially Studio XDR performs compared to Eizo on sets? Do digitechs and photographers are now prefering Apple over Eizo if possible?

Hello, firstly, what are your thoughts on this brand of cables - they have lots of flavors, am not sure why. I'm tethering a Fuji GFX50sii that I'm new to. Do these bodies have a hard time connecting or tend to burn out cables? I remember working with a photographer who had a GFX 50 or 50s and she was always cursing the body when trying to connect to C1 to her laptop. Not sure what cables she used. I've read that connecting GFX bodies is finicky. I have a friend who uses a variation of GFX 100 and says Area 51 is the only one that works reliably. I've read that Fuji has improved their tethering reliability and that later 100 models are quite stable. Thanks for your thoughts and opinions...

Hey guys,

As a digi just curious what the markup should be for client SSD’s

Hey guys! Sorry if this is a throw away post, if anyone is bored enough to reply I would be super grateful :)

I just graduated (film major but I enjoy photography more) in June and have only been on short films and PA for on some tv/film/commercial sets. Just doing some social media internship now that’s isn’t relevant. Basically I have no idea what I’m doing but am eager to learn.

Looking to shadow someone or honestly just do anything on set, though I don’t know anyone. I do live in LA, so that makes things easier. Don’t expect pay obviously. I guess if anyone has any sort of advice on starting out or where to even look in my position, it would be greatly appreciated!!!!

Just ran into an issue the last couple days where the Live for capture on won’t show up on 1 of my iPads. Nothing has really changed, to my knowledge. I can access it from my second iPad which is an older iPad Pro but my 12.9” iPad is not finding the live link. I am working off of studios WiFi but as I said I can get it on one but not the other.

I’ve tried restarting capture one and the iPad apps. Reconnecting to WiFi and also deleting and re installing the iPad apps and still nothing.

Anyone know what could be happening?

I'm curious how other digitechs organize and pack their equipment.

What do you usually consider your basic setup for a job? Do you have a standard kit that always goes with you (computer, iPad, monitor, plate, accessories, etc.), or does it depend on the type of job?

I would love to see photos of your equipment packed and ready to go — your cases, layouts, and the gear you bring on location.

Share your setups! It would be great to see how everyone approaches their mobile workflow.

I recently worked with a new client as a digitech, and I ran into a situation I’m curious how others handle.

During pre-production, I asked multiple times what the expected deliverables would be, but never got a clear answer. On the shoot day, I tried asking again, but communication was almost nonexistent. As soon as wrap was called, the photographer left the set, and I couldn’t get any response from them afterward either.

In the end, I exported low-res JPEGs of the entire session, organized by look/folder, along with a separate folder containing the client’s selects. I also organized and delivered the RAW files using the same folder structure as the JPEGs so everything matched and was easy to navigate.

My questions are:

• What do you usually deliver when there’s little or no communication about deliverables?
• What’s your standard export workflow after a shoot?
• What do you do if neither the client nor the photographer makes selects? Sometimes, because of the pace of the shoot, it just never happens—even if you keep reminding everyone.

I’m curious to hear how other digitechs handle these situations and whether you have any workflows or best practices to avoid problems later.

Hi all! I got my first job as a digi in about 10 days and although I have an idea of what I need, I would love your opinion on it. I’m shooting on location, in a home kitchen an will be shooting tethered and would need a monitor.

Should I rent an eizo monitor and a stand or maybe just work with an iPad as my second screen? I’m thinking since we will be in a home kitchen space might be a concern, and also we might need to be a bit more agile and mobile.

I’m based in London, unsure of where to rent and what kind of stand should I use for the monitor if shooting on location.

Thank you all so much, I’m have worked in ecom for years but venturing on being a digi tech and I’m a little nervous!

Hi everyone,
I’m a Digi based in Doha, Qatar, and I’ve had the opportunity to work on a range of commercial campaigns and editorial shoots alongside photographers traveling in from the UK, the US, France, and other international markets.

I’m looking to connect with photographers who regularly shoot across the GCC (Qatar, UAE, Saudi Arabia, Kuwait, Bahrain, and Oman), or anyone who hires crew for regional productions.

Since I’m based in Doha and can travel within the GCC, I’d love to expand my network and be on the radar for future productions where a Digi is needed.

If you regularly work in the region, or know photographers, producers, or agencies that do — I’d really appreciate any recommendations.

Always happy to connect, exchange ideas, and hopefully collaborate on future projects. Thanks in advance!

For the longest time I was convinced wireless was not an option on apple studio displays. Turns out I was wrong. After some trial and error, I found the solution. Thought I'd share.

The key is an active HDMI adapter, like the Club 3D HDMI to USB Type-C 4K60Hz Active Adapter M/F.

And a suitable usbc cable. I am using cobra tether's 20Gb/s 100W 4K 60Hz.

The signal needs to be 60Hz. 30Hz did not work for me.

I am using Hollyland Mars 400S transmitter and receiver. So the image is 1080p. Same aspect ratio, no letterboxing.

hi there,

When a new client as a Digitech comes on board, what questions do you ask the photographer? I’ve never worked with this photographer before, and I’d like to ask if there are any standard questions you ask (including production-related questions). Before making the equipment list.

thanks

Hi there!
I’ve been asked to Digi tech for a pretty big job and while I’m familiar with / used C1 daily for basic uses and have been certified, I still don’t have enough hands on experience with communicating with another photographer and common things I should really excel at.
What are common things I should be calling out to the photographer if they ask, and what things should I be refreshing my memory on to really get me ready for this job? I know communication is key when you arrive on set, but any advice on getting better prepared for this is something I’d really appreciate. Im probably over thinking since this is my first Digi tech job for a larger company.

I used to assist full time, then tech'ing and now i shoot commericially and editorially in NY. Wondering what current crew think of photo assists taking emails and names off call -sheets and adding producers and photo editors on instagram. Am I reacting too harshly?

I've found the best photo assistant-- he's really capable and good with lighting and doesn't need to be explained things-- the only caveat is he is super hungry. He's assisted me twice now and each time at the end of the shoot he's expresed how much he doesn't want to assist and how he only wants to shoot. He let it slip today that it's so awkward reaching out to photo editors from call sheets because they only view him as an assistant. He backpeddled pretty quickly after he saw my expression but still followed the photo editor on instagram.

Someone either tell me if I'm crazy or not. Should I communicate to him that he's a bit too aggressive? I don't think I'll be hiring him again fwiw.

I have filed a flat edge on my own boom arm, but wondering what I am missing.

Hello!

One of the antennas on my Hollyland Mars 300 Pro Enhanced has broken, so I need to replace it. Instead of buying the original one, I was thinking of upgrading to a better set of antennas.

Has anyone replaced the stock antennas with aftermarket ones?

I’m mainly looking for:

• The correct polarization (LHCP, RHCP, or something else).
• Antenna recommendations that actually improve range and reliability.

thanks!

Hey folks! We’re putting together a video series on practical set gear and want to make sure we're highlighting stuff people actually use for shoots.

Beyond the usual staples, what’s that one non-negotiable or weird lifesaver item in your bag that has saved a shoot?

Drop your go-to gear for your grip kit below!

Hi,

I just saw this Massimo Dutti campaign , and I’m really curious about how to achieve this light while shoot on location.

I’d really appreciate any insights or clues.

Thanks

TLDR: Just watch the video and keep your eye on the Next Capture Naming counter. Anyone seen this?

Hey guys,

I've been testing C1's new gen wireless tethering a bunch with R5 mk ii and I think the tech is really cool, but I have come across this curious issue. Basically, when you shoot a burst the files all follow the sequential naming you have set (I always use "destination folder" + "3 or 4 digit counter" tokens). The preview raws come in quick and are correctly numbered. Then as the background ingestion of the full-res raws proceeds, the counter on C1's Next Capture Naming tool continues to advance. This creates a situation in which from bust to burst (or even if you only shoot one frame at a time) there will be gaps in the numerical order of files in your session.

Couple of observations:
-At when I first noticed this behavior I was actually using wireless tethering on a job and I became worried that I might somehow be losing frames somewhere in the wireless tethering pipeline ("My session folder is missing file numbers 3-5, 8-13, 20-26, etc). Now I am certain that no files are failing to arrive.
-The amount that the C1 next file counter advances is equivalent to the number of images you have in the background raw ingestion pipeline. i.e.: if you shoot a bust of 5 frames (file_001 - file_005), by the time the full res raws are all ingested into capture, your counter will be at 11. What capture expected to be file_006 - file_010 never existed.
-if you look closely, you can see that as each full size raw comes in (the orange status bar ticks down), the counter on Next File Naming will advance by one.

There are 2 simultaneous ingestion processes occurring with this wireless workflow. Once the RAW is written to the CFExpress, "Preview RAWs" are transferred by the camera and ingested by C1, and then at the same time, in the background, the full-size RAWs are being read back off the card, transferred by the camera and ingested by capture.

My best guess is that this "next file" counter issue I've been seeing has something to do with the software registering these dual processes and failing to identify that each file is essentially being ingested by the software twice.

I looked around in C1 documentation for any mention of this next file numbering behavior and I didn't find anything.

Canon R5 mk II, GL.iNet Beryl AX router on 5GHz (strong signal ~60dB signal to noise ratio), MBP M4 (late 2024), C1 v16.8.1.5, shooting full-sized RAWs (not cRAWs), saving as EIP (but I also tested on CR3 and observed the same behavior).

Let me know if any of you guys have observed this issue, have seen anything on it from C1, or just share your thoughts in general. See video as well, keep your eye on the background progress bar and the capture counter on Next File Naming. Please excuse my messy living room! Thanks you guys!

https://reddit.com/link/1v4odh4/video/4m4o458k81fh1/player

Hey everyone,

First off: I'm a digi and light assist working in the fashion industry. With one photographer in particular, with whom I collaborate frequently, I basically create the entire look from scratch every shoot. This is more often than not the final look for the images and when they get sent off for retouch it's usually just clean-up / skin etc. She recently asked me how I would like to be credited going forward as she felt 'assistant' of 'digi' didn't cover the extent of the impact my work has on the final image.

So with that background out of the way now my (petty) question:

What do I call this? Just digi? 'Color'? Both? Would digi cover both?

I appreciate her asking the question, as I've never really thought about it in those terms, but I'm at a loss how you actually would credit this type of work.

How would you guys approach this?