DIT & Data Technician Services

Here is how this works in practice. Peruvian drama and feature production now routinely captures multi-camera Alexa 35, Venice 2, Burano, and V-Raptor sessions at 4.6K to 8K, often shooting twenty to fifty terabytes per week across a single series. The DITs in our network are built for that volume.

Here is the short of it. They work from carts running Codex Vault systems, ARRIRAW and R3D transcoders, and DaVinci Resolve for on-set look running, run dual-redundant offload to RAID arrays plus LTO archive, verify every transfer with Silverstack and YoYotta checksum tooling, and hand finished dailies into the post pipelines that Cinesphere DI, Tondero Post, Audiovisual Project Perú, and La Mecha Post actually consume.

Here is the breakdown. They know the Peruvian broadcast spec for América Televisión, Latina, ATV, and Movistar Play, and they format CDLs, ALE files, and ACES-compliant metadata exports so edit in Miraflores or VFX vendors at Cinesphere can ingest without manual cleanup. Sony X-OCN ST and LT transcodes are routine. The network covers the full V-Raptor R3D and ARRI MXF workflow without compromise.

Here is what that looks like on the ground. On-set colour is a separate layer of the service. DITs in the network calibrate their reference monitors with Calibrite Display Plus and X-Rite probes daily, build show LUTs in joint work with the cinematographer during prep, and keep shot-by-shot CDL adjustments as scenes unfold. For shows that need a more developed look on the floor — specific Tondero feature productions and high-end Movistar Play originals — they run live grading directly in Resolve, including hero takes for client review.

Here is how the picture comes together. Security and chain-of-custody is non-negotiable on Peruvian productions tied to Netflix Latin America, Apple, Disney+, or major brand campaigns. Our DITs work to studio TPN guidelines, log every drive transfer, and set up encrypted hand-off to the post site's data manager under Ley 29733 GDPR-equivalent talent-image and metadata handling. Where the production is shooting between Lima studios, on location in the Sacred Valley or Trujillo, or split across multiple Peruvian regions, we staff DITs and second-unit data managers as a team so the workflow remains uniform across every unit, contracted through SUNAT freelance carnets with IGV 18% in place.