Film crew hire/Brighton/DIT and data for Brighton shoots
DIT and data for Brighton shoots
This guide is our summary for planning a shoot. It isn’t the official source. Always check fees, notice periods and rules with the people named on this page before you film. The edit for a Brighton shoot is often in London, about an hour away by train, in our own suite or in another country. Every card is checked and copied twice before it leaves the set. One copy travels with the crew and one with us, and on a long day a DIT copies the cards as they come off camera. This guide covers who does what, what they carry, how to size the drives and how the rushes get to the edit.
DIT · day rate
£527
Verified copies before a card is wiped
2
A terabyte at 1 gigabit a second
Over 2 hours
Fastest train between Brighton and London
About an hour
On this page
01 Who does what
Who copies the cards on your shoot
Three jobs overlap, and different sets call them different things. The cameras, the formats and how soon the edit needs the rushes decide which one a Brighton shoot books.
Digital imaging technician
DIT
The DIT sits with the DOP on the camera settings and the look, checks each take for focus, exposure and noise, builds the colour for dailies and runs the backups. This is the one to book for ARRI or RED in a studio, or for anything shot RAW.
Backups and the log
Data wrangler
The wrangler takes the cards from every camera, copies them with verified backups and keeps the log. On a three-camera conference day at the Brighton Centre, the wrangler keeps pace with the cards so the camera team never waits for an empty one.
On smaller jobs
Camera assistant or loader
On a small shoot the 2nd AC offloads between set-ups with verification software. On a sportswear brand’s social spot in Woolwich, London, in January 2025, our 2nd AC took over as DIT at the end of the day.
Our view
An interview day in an office on one or two FX6s doesn’t need a DIT. A camera assistant with the right software does the job. Book a wrangler from three cameras up, and a DIT for RAW, ARRI or RED, dailies the same night, or an edit in another city or time zone waiting on proxies. The DIT’s cart and drives go on the quote as their own lines. If you’re booking the whole crew, every role is on the Brighton crew page.
02 On set
How we handle data on a Brighton shoot
These are the five steps on every shoot, whoever does them.
01
Offload, verified
Cards are copied with checksum-verified software such as Silverstack, ShotPut Pro or OffShoot, which reads each copy back against the card. Nobody drags files across in Finder.
02
Two copies, then three
The crew make two verified copies on separate drives before a card goes back to camera to be formatted. One copy travels with the crew and one with us, and a third copy is made away from set by the end of the day.
03
Check it
The DIT spot checks focus, exposure, sound and timecode while the crew are still on set to go again.
04
Log it
The DIT writes a report for every card and an ASC MHL file that travels with the media. It holds a checksum for every file, usually xxHash or MD5, and a record of every copy made.
05
Hand it over
At wrap, the drives go to you, onto the train to London with the crew, up to the cloud from the hotel or the office, or to our edit.
Card handling
A full card comes off camera marked as not yet copied and goes straight to the DIT, never into a pocket. It goes back to camera only once two verified copies exist and the DIT has marked it safe to format. On a two-camera day each camera’s cards travel in their own case, so nothing gets wiped by mistake.
Why it matters
Copying in Finder makes no checksum, so a corrupted file can go unnoticed until the card has been formatted and the original is gone. The baseline we work to is the 3-2-1 rule, which means three copies, on two kinds of storage, with one of them off site.
On one of our jobs
For Swanson Studios, an Oregon studio filming surgeons for a surgical robotics company in Portsmouth, London and Oxford in November and December 2023, our DIT ingested the RED footage and the audio each day, made proxies, and backed up to two mirrored drives, one for Swanson and one for its client, before the vans were packed for the next city.
03 The cart
What a DIT brings, and what they need
The cart is a small data station on wheels. Most DITs bring their own, and it goes on the quote as its own line, with the drives.
Software and looks
A station
The DIT brings a laptop or workstation running the verification software, the camera makers’ own tools for RAW and the DOP’s look files for dailies.
Media
Readers and drives
The DIT brings a reader for every card format on the day, and drives for three copies. ARRI and RED cameras use their makers’ own media, so the readers are matched to the cameras on the call sheet.
Checks and backup power
A monitor and power
They bring a calibrated monitor for checking pictures, and an uninterruptible power supply, so a tripped socket doesn’t stop a copy halfway.
Power and a corner
The DIT needs a socket and a spot out of the traffic of the set, close enough for the camera team to hand over cards. At the Brighton Centre, in a studio or in an office, we agree both with the venue before the day.
Parking
A DIT who works from a van by the set needs somewhere to park it. A suspended parking bay outside the location needs 7 full working days’ notice to the council, and it goes on the quote with the van.
The low emission zone
Brighton’s low emission zone is a bus scheme, so there’s no charge for the DIT’s van.
Sources
We checked this in November 2026. Fees and rules change, and this page isn’t the official source. For the latest, check with Brighton and Hove City Council.
04 Storage
How much data a shoot day makes
Take the data rate for the camera and format from the camera maker’s own figures, in GB an hour. Multiply it by the hours you roll and the number of cameras, then by the copies you keep.
Worked example
Three cameras rolling six hours each, at 100 GB an hour, make 1.8 TB. Keep three copies and that’s about 5.4 TB of drives, sized before the day so nobody goes looking for drives at lunch. We check the real data rate for your cameras and formats before we order the drives.
From one of our jobs
The client’s post house often sets the format. For Davies Group’s talk show, shot in Manchester, London and Bolton in October and November 2024, the post house asked for log, 4K, 25 frames for interviews and 50 for B-roll, and the London cameras were two Blackmagic 6Ks, chosen to match the other cities for the edit.
05 Delivery
Getting rushes to the edit
Handed over at wrap
The drives go to your producer on set with the media log. Whoever takes them, the masters stay with the production until the copy has arrived and been checked.
On the train, with a person
The fastest trains between Brighton and London take about an hour, and direct trains run to Victoria, London Bridge and St Pancras. A crew member or the DIT takes a shuttle drive back to London on the train with the crew and hands it to the edit at the other end. It’s a copy, never the only one.
By upload
From the hotel or the office, the connection sets the pace. At 1 gigabit a second, a terabyte takes over two hours in theory, and a slower line takes much longer, so we check the line before the day. For a Paris agency’s interviews in Wimbledon, London, the June 2025 rushes went to Paris on two transfer links two days after the shoot.
Proxies as you shoot
A connected camera or encoder can send proxies to the edit as you shoot, so the edit can start before wrap. In a venue, we ask for a wired line first. On the Downs or the coast, we plan as if there’s no signal. The copies happen on the cart, and the originals go up from a wired line back in town.
To an overseas edit
When the edit’s abroad, the proxies go up as you shoot, and the drives follow by courier or fly home with the visiting team. There’s more on how overseas teams book a Brighton crew.
Sources
We checked this in November 2026. Fees and rules change, and this page isn’t the official source. For the latest, check with National Rail.
06 Playback
Playback and live viewing
For four days of customer stories in September 2025, a US production company flew in four of its own crew and we crewed the rest of the unit, at a law firm’s offices on Cannon Street in the City of London and then an office in Uxbridge. Playback was added late in prep. An operator with a playback package, a Teradek and a livestream licence worked all four shoot days, so the shoot could be watched from outside the room.
A video playback operator in Brighton is £334–518 a day, with the kit on its own line. A stream to a client in London or abroad goes out on a wired line agreed with the venue before the day, and we test it before anyone joins.
07 Post
Where the film is cut, in your edit or ours
Rushes from a Brighton shoot usually go one of three ways. We plan the route at the recce, so the format, the drives and the delivery match the edit.
Your spec
Wherever it is
Your post house
Send us the post house’s spec before the shoot, and the format, the drives and the route out of Brighton are set to it. For Davies Group in 2024 we handed over rushes only: Manchester’s on SSDs with a Frame.io backup, Bolton’s straight into its SharePoint, and its post house cut the show.
Edit days
Crew hire
An editor in Brighton
An editor booked for the edit days, cutting from the drives the DIT hands over, in your office or theirs.
Here Now Films
Our own edit
The people who shoot it can cut it, grade it and mix it, with no drives changing hands between companies. AlTi Tiedemann Global’s six productions, shot in London and New York between January 2024 and July 2026, were edited, graded, mixed and animated by our team in London.
Need a DIT, or the rushes handled?
Tell us the cameras, the formats and where the footage has to end up: in Brighton, in London, in our edit or overseas. We’ll book the DIT or wrangler, the drives and the delivery. Or call us on 07412 543822.
Quick contact form
08 Questions
Questions about DIT and data in Brighton
Do I need a DIT or a data wrangler in Brighton?
Not for a one- or two-camera interview day in an office. A camera assistant with verification software does the job. Book a data wrangler for three or more cameras, such as a conference at the Brighton Centre, and a DIT for RAW, ARRI or RED, dailies the same night, or an edit in another city waiting on proxies.
Can you find a DIT for a Brighton shoot?
Yes. We’re a crew agency with 2,800+ freelance crew on our books across the UK. We book DITs and wranglers who live in Brighton or Hove first. When the brief or the date needs someone else, they come down from London, about an hour away by train, with the travel on the quote before anything is booked.
What does data handling add to a Brighton quote?
The DIT’s day rate, £527, or a wrangler’s, quoted on the brief. The cart and the drives each go on their own line, and so does the delivery, such as train fares or an upload. A van parked by the set needs a suspended bay, booked with the council 7 full working days ahead. There’s no emission charge for the van, because Brighton’s low emission zone is a bus scheme. On a crew hire, everything we book carries our 10% booking fee and 2% insurance. Check with Brighton and Hove City Council for the latest.
How do Brighton rushes reach an edit in London?
By hand is often quickest. The fastest trains between Brighton and London take about an hour, so a crew member takes a shuttle drive back on the train with the crew and hands it to the edit. Or the rushes go up from the hotel or the office, on a line we’ve checked. The masters stay with the production until the copy has arrived. Check with National Rail for the latest.
How much storage does a shoot day need?
Multiply the camera’s data rate by the hours you roll, the number of cameras and the copies you keep. Three cameras rolling six hours each at 100 GB an hour make 1.8 TB, so three copies need about 5.4 TB of drives. We check the real data rate for your cameras and formats before we order the drives.
How many copies of the footage should we make?
Three, each checksum-verified, on at least two kinds of storage, with one away from set. That’s the 3-2-1 rule. Cards don’t go back to camera to be formatted until two verified copies exist, and one of those travels with the crew.
What if we’re shooting on the Downs or the coast?
Plan as if there’s no signal. The copies happen on the cart, and the originals go up from a wired line once you’re back in town, or travel on the train with the crew.
Can an editor overseas get the rushes?
Yes. Proxies go up as you shoot, and the originals follow by upload or courier, or the drives fly home with the visiting team. For a Paris agency’s interviews in Wimbledon, London, in June 2025, the rushes went to Paris by transfer link two days after the shoot.
Around the crew
More for Brighton shoots
01
Kit rental
Where to hire camera, lighting and sound kit for a Brighton shoot, and when the crew bring their own.
02
Locations and permits
The Sussex Film Office, private places such as the pier, filming on the beach and the drone rules.
03
Studios and set builds
Studios in Brighton for interviews and product shots, and where to go for a bigger set build.
04
Props and wardrobe
Where props and costume come from, and the stylists and hair and make-up artists we book.
