DEMO v2 · not live · generated placeholder imagery and [bracketed] copy until your real footage and words go in
Andy Elvis

Films for brands,
clubs and events.

Shot, graded and delivered by a small crew working to the standard of The Batman and Bridgerton.

⇆
For productions and HoDs

DIT

On-set image pipeline for HETV and features. Colour that holds from monitor to dailies to the grade.

  • GradeLive grade, CDLs, show LUTs, ACES
  • DataChecksummed offloads, backups, reports
  • DailiesSynced, graded dailies on schedule
  • KitSelf-contained DIT cart for hire

Works with Digital Orchard, the on-set camera, DIT and dailies specialists.

See credits →View CV
For brands, agencies, clubs

Production

A compact crew with camera, light, sound and post sorted. One point of contact from brief to delivery.

  • BrandPromos, featurettes, people and product films
  • EventsSame-day social edits and full coverage
  • SportClub content, tributes, matchday and BTS
  • SocialMonthly packages for recurring clients
See production →

Recent work

All production work →
Watch film
West Bromwich Albion

Cyrille Regis tribute

[One line on the film and why it mattered.]
Watch trailer
Disney · DIT

Oasis: Don't Look Back in Anger

On-set DIT on the Oasis feature documentary. Official trailer.
0:30 ×12
[Client]

[Event socials]

[One line on turnaround and deliverables.]
DIT credits for NetflixDisney+Apple TV+AmazonITVBBC

Book a call

Tell me what you're making and when. I reply within a working day.

Email
Production

Corporate budgets.
Feature-film pipeline.

Brand films, events and club content from a small crew that shoots, grades and delivers. Every frame is monitored and graded as it's captured, so a year of content looks like it came from one campaign.

Start a project →See packages

Case studies

Placeholder copy
Watch film
West Bromwich Albion

Cyrille Regis tribute

[Two or three sentences: what the club needed, the story you told, how it was received.]

Delivered
[Hero film, social cutdowns]
Crew
[Director/DoP, sound, edit and grade]
Turnaround
[X days]
Watch trailer
Disney · DIT

Oasis: Don't Look Back in Anger

Role
On-set DIT
Format
Feature documentary
0:30 ×12
[Client]

[Event socials]

Delivered
[12 same-day edits]
Turnaround
[Same day]
06:00
[Client]

[Featurette]

Delivered
[6 min doc piece]
Turnaround
[X weeks]

What you can book

Tap a clip
00:0000:3001:0002:0004:0006:00+
V3
V2
V1
Why a DIT
makes your films
  • The look is set on the dayGraded live on set, so you approve the image while it's being shot, not two weeks later.
  • Consistent across a year of contentOne colour pipeline for every shoot. Your March social and your December promo match.
  • Nothing gets lostChecksummed backups of every card, the same process used on Netflix and Apple TV+ shows.
  • One person accountableBrief, shoot, edit, grade and delivery come from the same place.

Clubs and sport

Matchday content, player features and tributes, made with people who understand what the club means to its fans.

Aston VillaWolvesWest Bromwich AlbionBurnley

How a shoot runs

Brief to delivery
00:00:00:00

Brief

A call to pin down audience, outputs and where it will be seen.

00:00:15:00

Plan

Recce, schedule, crew and kit. Fixed quote before anything is booked.

00:01:00:00

Shoot

Small footprint. Monitored and graded live.

00:02:00:00

Edit

Cut and colour in Resolve, with review links each round.

00:03:00:00

Deliver

Masters, social cutdowns and archived rushes.

Start a project

A rough idea is enough. I'll come back with questions and a fixed quote.

Email
Notes from set and the grade

The Log

Practical writing on DIT workflow, colour and making films for brands and clubs. For producers, DoPs and anyone hiring a crew.

Sample posts · titles and dates are examples

← All posts
DITSample post · 6 min read

What a DIT actually does on set

Most people outside camera department have heard the title and have no idea what the job is. Here's the day, start to finish.

CLIP A004C012 · placeholder still

Before the first shot

The look gets agreed in prep with the DoP and the colourist, usually as a show LUT and a handful of starting grades. On the day, the cart is built near set, cameras are checked against each other and every monitor is calibrated to the same reference.

During the day

Two jobs run in parallel. One is the image: live grading every setup so the director and producers see something close to the final look, and catching exposure, focus or flicker problems before they become reshoots. The other is the data: every card offloaded to at least two destinations, checksummed, logged and returned to camera.

If a card is lost, a scene is lost. The data side is the part nobody notices until it goes wrong.

After wrap

Grades are exported as CDLs, rushes are verified, and dailies get rendered, synced and uploaded so the edit and the studio can watch them the next morning.

Why this matters off set

The same pipeline works on a two-day brand shoot. You approve the look as it's filmed, your footage is backed up properly, and every film you commission matches the last one.

Need a DIT or a crew?

Tell me the job and the dates.

Get in touch →