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7618 Woodman Ave
Panorama City, CA, 91402 STE 15
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DIT House News

On-Set Rentals for DIT, Data Management, Dailies & Transcoding

Benefits of Shooting on a Phantom 4K vs a Phantom 2K

Sacha Riviere

Its not just about pixels on the Phantom Flex 4K!

Yes, you get 4x the amount of resolution compared to a Phantom Flex 2K.

Yes, the Phantom Flex 4K is so much easier to use then previous Phantoms.

But, its the Dynamic Range is where the Phantom Flex 4K really stands out.

If you have ever worked with some of the older Phantoms, you will know that over exposure is deadly. When the whites blow out, they really blow out fast. Plus there can be a Magenta cast that is introduced with the previous cameras that the Phantom Flex 4K does not.

I remember working on a water job with the Phantom Flex 2K , everything was backlit, and we were filming a rowing crew for the Olympics. We captured amazing footage and close ups of the Crew, water splashing from the oars, looked amazing! 

...yet we were overexposed by 1stop. This is where having a good DIT really helps by the way. We weren't in a position to review footage on the Phantom Flex 2K as we were on a pontoon, on a lake. We got the shot, and once we took the footage into Color Correction there was a Magenta cast in all the overexposed highlights, so this required even more work to remove the magenta cast.

All this would have been avoided if we had shot on a Phantom Flex 4K!

The overexposure latitude is remarkably better. According to Vision Research, the manufacturer of the Phantom Flex 4K. 

“The dynamic range on the Phantom Flex 4K is higher, and the overall noise level of the Flex4K is significantly lower than the Flex (2K).”

“... The most obvious difference is the pixel resolution: The original Phantom Flex (aka Flex 2K), has a 2.5K sensor and the Flex4K has a full 4K sensor.”

Image properties

The Native sensitivity of the Flex4K sensor is ISO 250T, and the exposure index can be extended to over 1000 (ISO equivalent) without significant loss of image quality. 

The Flex (2K) has a base sensitivity of ISO 1000T, but its not recommended pushing the exposure index on that camera in order to maintain the optimum image quality.

The Phantom Flex 4K is super-35mm but with a full resolution of 4096 x 2304 and with  6.75 micron pixels.The Flex (2K) has a maximum resolution of 2560 x 1600 on a super 35mm CMOS sensor and a pixel size of 10 microns.

Another difference is that the Flex4K has a progressive scan shutter (with less than 1ms scan time), and the Flex (2K) has a global shutter. 

(There is a newer Phantom Flex 4K with a Global Shutter, but you lose 2 stops Dynamic range, better suited for Scientific image capture.)

Regarding color processing, the Flex4K operates from the newer Phantom protocol, which lets you set the white balance in Kelvin as opposed to RGB gains like previous Phantom cameras.  Powerful image processing controls like tone curves and color matrix are also possible with the Flex4K.

Recording media

Also of interest are recording times and recording media of the Phantom Flex 4K. 

The Flex (2K) uses the CineMag or CineMag II non-volatile magazines. These mount to the top of the camera.

The Phantom Flex 4k aka the Flex4K uses a new CineMag design, called the Phantom CineMag IV. The CineMag IV is available in 1TB and 2TB memory sizes. They mount in the side camera enclosure of the Flex4K, much like an Arri Alexa.

In both cases, Raw Cine files are transferred from RAM, or recorded directly to CineMag IV called Run Stop mode. (Run Stop mode has a 120fps limit at max resolution)

You can even record ProRes in the Phantom Flex 4K! The CineMag IV enables ProRes recording to save space and increase total record time.

On-camera controls

The Flex (2K) has basic controls on the left side of the camera. But most of your controls are going to be from a computer attached via ethernet. Yuck.

The Phantom Flex 4K Flex4K has similar controls on the left side, BUT on the right side there is a new full menu system via LCD display that lets you control every setup and control parameter of the camera. It has the ease of use of an Alexa and can be operated without an ethernet tether.

Power & battery control

The Flex (2K) has two 24-volt power inputs. One can be used as the main AC power (220 watt power supply), and the other can be connected to a stand battery to use as a battery backup. OR, power the camera with a stand battery (like the Anton Bauer VCLX series)

The Flex4K is a little more flexible, it has one 24-volt power input, and three standard battery backs are available that support Hawk-Woods, V-Lock and AB-Gold mount batteries. Allowing both an AC power supply and an On Board battery with Hot Swap ability. Also making Handheld shots easy. 

Video features

The Flex (2K) has two 1.5G HD-SDI outputs and one component video signal, and they all output an identical scaled 1080p or 720p output.  The two outputs can work together to provide a 4:4:4 1080p signal. 

The Flex4K has three main HDSDI outputs that can output at either 1.5G or 3G, and an additional SDI for viewfinder. Two of the outputs can be used together for a dual-link 4K signal.  The camera can be set to continuously monitor the live feed where 2 of the outputs play back what was captured to camera RAM or the CineMag IV.  The cameras outputs can also switch between Rec709 and Phantom LOG mode for monitoring purposes. 

Massive amounts of Data

The Phantom Flex 4K can shoot massive amounts of data, so having an efficient method of downloading is crucial. Files in the CineMag IV can be downloaded through the Flex4K camera body or through the Phantom CineStation IV.  Just about everyone uses the CineStation IV since The Phantom 4K only has a 1Gb Ethernet port, where the CineStation IV offers both 1Gb Ethernet and 10Gb Ethernet connections. With a fast destination like an SSD Raid you can download at about 300MB/sec on a Mac.

The files can be downloaded using windows-based Phantom PCC software or with Mac-based Glue Tools Séance software. One license of Séance comes with the Phantom Flex 4K purchase, also available from Glue Tools

There are a lot of video outputs and options on the Flex4K. How do the different video modes work?  

The camera has three main 3G HD-SDI outputs at the back, one additional 3G HD-SDI output and one component video output at the front for viewfinders, and one HD-SDI. The camera supports:  

    • 4:2:2 1.5G 1080p/psf at 23.9, 24, 25, 29.9 Hz; 720p at 50, 59.9 Hz
    • 4:2:2 3G 1080p 50 and 59.9 Hz
    • 4:4:4 3G 1080p/psf at 23.9, 24, 25, 29.9 Hz; 720p at 50, 59.9 Hz
    • Dual-link 4:4:4 3G 2160p 23.9, 24, 25 and 29.9 signals                                                                      

The three main outputs are separated as 1x monitor (MON) output, and 2x recording (REC) outputs.  The 2x REC outputs can be configured as individual 1080p outputs or used together to provide a dual-link 4K video output. All outputs must be on the same video system, and the 4K/2160p signal is determined by the settings of the other outputs / and vice versa.

The Component and HD-SDI viewfinder outputs (VF) at the front always work together, and provide the same image, with the same overlays, zoom modes, etc.  The MON output can also mirror the VF output - this should be a common setup.

Versatile HD-SDI: The VF outputs and MON output can be set to always show a live signal, where the REC outputs are a clean feed that will switch between live and playback. This allows the DP & camera operator to always monitor the live action while the camera is playing back the last shot, or reviewing CineMag IV takes through the REC outputs.

Video scaling: When capturing at 4K resolution and outputting at 1080p (for example) the camera will always scale the video to 1080p.

Monitoring & Log outputs: The Flex4K video outputs can be switched between Rec709 and Phantom Log mode. All outputs are grouped together to display the same output. Various zoom ratios can be set from the camera body to help set focus. Production area rectangles and threshold mode are also available for the VF and MON outputs to help judge framing and exposure.

How long can you record with the Phantom Flex 4K?

The record time is completely dependent on the camera’s resolution, frame rate, and the size of memory that is being recorded to.  At the camera’s maximum resolution and frame rate the camera will capture 5 seconds of video to 64GB.  If recording directly to a 1TB CineMag at 96 FPS you can record for about 13 minutes.  At 24 FPS you can record for about 56 minutes. But keep in mind most events that are captured at extreme Slow Motion rates typically take place in a small period of time, like an object falling into water is just a few seconds. Also play back of long recording times become too long for most 

Here is a good Record Time Calculator. by Vision Research.

Introducing The NEW ThunderPack Mini Battery Powered DIT Station

Sacha Riviere

The ThunderPack Mini (ThP Mini) is an all-in-one, battery powered solution for your remote and difficult locations. This small powerhouse can handle your downloads, transcodes and LTO archives all off battery power. The internal raid and external SAS allow for blazing bandwidth of over 1000MB/sec. The ThunderPack Mini can power your MacBook Pro, external drives and a 17" monitor all off battery power.

  • SDI video out allows for image viewing and QC.
  • Can be powered from 110-240 AC, Internal Batteries, Anton Bauer VCLX, or Dionic HC batteries
  • Solar panels are available as an additional charging solution.  

$400/Day (requires MacBook Pro, not included)

The DIT House is happy to add: The Thing HDSDI Wireless transmitter by Freakshow HD!

Sacha Riviere


With a real world 2000' LOS range, HDMI and SDI capability, Anton Bauer battery plates, manual channel selection, and zero delay, THE THING is a great, cost effective solution for a variety of transmitting needs.

If you like the Teradeck Bolt 2000 $450/day or Paralinx Tomahawk $550/day you will love this Transmitter at $350/day

Check the Specs below!

  • Up to 2000 ft line of sight transmission
  • >0.001 seconds of delay (effectively zero)
  • Uncompressed Video
  • HDMI & HD/SDI input to HDMI or HD/SDI output
  • Rx with either Anton Bauer or V-lock battery plate
  • Manual channel select
  • Multicast up to four receivers
  • Custom power cables available upon request


•Up to 2000ft. line of sight


•<0.001 second


•+12-36VDC, Regulated


•TX: 4.3” x 2.6” x 1.0”

•RX: 5.8” x 3.5” x 1.0”


• 3Gb, 1.5Gb, 270Mb

• Meets and exceeds SMPTE 292 and 424 Standards






Introducing the newest RAIDs to The DIT House Family


The Akitio Thunderbolt 2.0 4TB RAID 0

AkitioMiniRAID-TB 2.0
AkitioMiniRAID-TB 2.0

This Mini RAID is the perfect size for 

your High Performance needs while using a small footprint.

Using ThB 2.0 we have been getting 500+MB/sec in real world performance.

Available for $50/Day

And introducing the 32TB Promise 2 R8 RAID 5

Promise TB2 R8 RAID 5
Promise TB2 R8 RAID 5

This RAID is a reliable workhorse that provides some of the Highest Performance available at over 1000MB/sec.

Paired up with our nMP system and you’ll be pushing through footage with ease.

Available for $200/Day

Breathe New Life Into Your 12 Core


The DIT House is happy to be offering some of the latest GPU offerings from both Nvidia and ATI.
The latest ATI based GPU we have is the R9 280x, aka "Tahiti Prototype" these are the same technology as in the new Mac Pro's D700 series.
OpenCL has made some amazing improvements, so they really pack some punch in Resolve. 
We have been able to achieve very close performance to the new Mac Pros, so you can expect to get 90-100fps with Alexa 1920x1080 ProRes 444 to 1920x1080 ProRes LT.
(1x GUI, 1x GPU, 1x Node in Resolve, Alexa 1920x1080 ProRes 444 to 1920x1080 ProRes LT 23.98)
They have been power enveloped, so you dont need to worry about drawing too much power and burning your motherboard.
Give us a call if you want to try one out on your next job.

Now For Rental: Red Rocket X w/ Echo Express III Thunderbolt 2 Expansion Chassis


Truly a match made in heaven. Now with the new Red Rocket X and the newly designed Echo Express III with Thunderbolt 2, speeds for transcoding have reached new and out this world speeds.


Optimized for the 6K RED DRAGON® sensor, this product is designed to accelerate the process of your R3D workflow, regardless of resolution. Using Dual DisplayPort + Dual HD-SDI 1.5G/3G for video output, RED ROCKET-X® provides real time 4K playback directly to your 4K display or projector.

Compared to the previous RED ROCKET, RED ROCKET-X processes and transcodes files up to 5x faster. The RED ROCKET-X supports Stereo 3D video output. A redesigned chassis works to protect the card, which uses a Full-length PCIe x16 requiring external 6-pin (75W) PCIe power for installation in your Mac or PC. The new RED ROCKET-X no longer requires or supports the Breakout Box.

Echo Express III Thunderbolt 2 Expansion Chassis

Use Up to Three PCIe Cards with Computers Lacking Expansion Slots

Today's ultra-light notebooks, mini, and all-in-one desktop computers now have tremendous processing power–power that many thought would only be possible in full-size workstation or large desktop computers. Smaller in size and more portable, they're very desirable. For pros in the creative fields, processing power alone is not enough. A prime example is the new Mac Pro®. Proven to be a processing powerhouse and packed with Thunderbolt 2 and USB 3.0 ports, it lacks the PCIe expansion slots necessary to install specialty cards to connect various video and audio inputs, for transcoding data, and to connect to high-speed storage and networks. With the Echo Express III-D, Sonnet has created a solution that leverages the paradigm shift enabled by Thunderbolt technology, allowing PCIe expansion slots to be connected outside a computer. This desktop Thunderbolt-to-PCIe card expansion chassis makes it possible for you to connect three professional video capture, audio interface, SAS or SATA HBA, 16Gb or 8Gb Fibre Channel, 10Gigabit Ethernet, and RAID controller PCIe cards to any Mac® with a Thunderbolt port.




The DIT House is happy to offer...


the latest in LTO 6 backup technology. 

We offer Thunderbolt capable LTO 6 options as well as MIni SAS for the fastest speeds. Backup your footage to archival quality at up to 180MB/sec.







The LTO-6 drive uses the latest industry-standard interface—6Gb/sec Serial Attached SCSI (SAS)—to allow for easy installation and integration into your data center. Quantum's LTO-6 tape drives also protect your investment by providing two generations backward read and write compatibility and one generation backward read compatibility. Keep data secure while not impacting back up or restore performance with hardware-based AES 256-bit data encryption. In addition, LTO-6 is WORM capable allowing companies from healthcare, financial, and other related industries to meet tough regulatory requirements. Quantum "Backup Ready" kit solutions allow you to go from box-to-backup in minutes with the highly reliable Quantum LTO tape drive, cable for external models, a cleaning cartridge, and durable Quantum media. "Backup Ready" solutions are cost-effective, easy to install, and fully supported by Quantum. Choose the Quantum LTO-6 tape drive configuration that is right for your environment: a server-installable internal, convenient tabletop, or space-efficient rack mount.

See more at:

For Rental Information , please check out our Rentals page.

Resolve 9...OMG!


Just In: The DIT House is now renting Resolve 9.0 Update. 

The DIT House is pleased to announce Resolve 9.0 On-Set Color Correction Systems!
We have tuned our machines for fantastic performance using Resolve 9.0.
Our 12core on set Transcode systems have been achieving 72-75Fps exporting to MXF with out any hiccups...yes thats right!
Using Alexa Pro Res 4444 footage as source material, we have been able to easily export to DnxHD 36 at 75








Just In: The DIT House is now renting Sony's Brand New OLED Monitor, the PVM1741


Sony PVM1741

The PVM-1741 “All in one” OLED picture monitor delivers unparalleled picture quality with high-value performance features and functions, all in a compact design. Sony’s 17-inch Super Top Emission OLED display panel benefits from superb black performance, wide colour gamut, and quick response with virtually no motion blur. By combining the Sony OLED display panel (Full HD, 10-bit driver) and Sony’s OLED processing technologies, the PVM-1741 OLED monitor delivers groundbreaking picture quality.

  • The PVM-1741 has an external remote control capability for input/output signal selection and adjustment of various items via Ethernet (10BASE-T/100BASETX) connection.
  • The PVM-1741 monitor employs a software-based white balance calibration function, which is called AutoWhiteBalance. Combined with a PC and commercially available calibration tool*, this function enables simple adjustment of the monitor’s white balance.
  • Quick Response with Blur-free Motion Because the OLED Electro-Luminescent layer inherently responds to any electrical current input, it emits light immediately. By this mechanism, excellent quick response characteristics can be achieved in fast-motion images. This efficient, blur-free, fast response benefits a variety of applications and scenes, eg. in sports broadcasting, monitoring of camera panning and text scrolling.

Details of the Sony PVM1741:

Sony OLED with Full HD and RGB 10-bit driver

The PVM-1741 OLED panel features a Full HD resolution (1920 x 1080) and RGB 10-bit driver together with Sony’s Super Top Emission OLED display panel to create life-like and smoother-than-ever gradation from dark to bright portions of a scene such as in a sunrise or sunset.

TRIMASTER EL design architecture

TRIMASTER Technology is a design architecture used to bring out the full performance capabilities of professional flat-panel displays. It comprises the core technologies that enable the highest level of colour accuracy, precision imaging, and picture-quality consistency. EL (Electro-Luminescence) is an ideal display device of self emission with high dynamic range and high picture quality. With the new "EL" device refining the "TRIMASTER" technology, Sony now re-defines the professional industry with "TRIMASTER EL" line ups.

Superb Black Performance

Thanks to the Sony OLED display panels, the deep black can be accurately displayed and the black portion of an image is not raised.

Wide Colour Gamut and High-Purity Deep Colour Reproduction Sony

OLED is a display device with a wide colour gamut offering not only colour gamuts of broadcast standards (ITU-RU BT.709, EBU, SMPTE-C), but also offers the widest colour gamut of the Sony OLED panel Sony’s Super Top Emission technology is using micro-cavity and colour filters. Sony’s micro-cavity structure uses an optical resonance effect and its colour filters enhance the colour purity of each RGB colour. This combination is also effective in reducing ambient light reflection, and consequently deep colour reproduction can be achieved without colour degradation, even in bright environments.

Quick Response with Blur-free Motion

Because the OLED Electro-Luminescent layer inherently responds to any electrical current input, it emits light immediately. By this mechanism, excellent quick response characteristics can be achieved in fast-motion images. This efficient, blur-free, fast response benefits a variety of applications and scenes, eg. in sports broadcasting, monitoring of camera panning and text scrolling.

Superb Uniformity

The PVM-1741 monitor incorporates a newly-developed OLED processor to bring out the full performance of the Sony OLED panels. This OLED processor offers superb uniformity across everywhere on the screen. At the factory, the OLED panel uniformity is precisely measured and corrected using a sophisticated RGB LUT (Look-Up Table) adjustment system.

I/P Mode Selection

The PVM-1741 monitor provides three I/P modes so that users can select the most suitable mode for each purpose: INTER-FIELD: This mode interpolates images between fields. This is used for picture quality precedence (eg. to reduce the jagged effect on moving pictures). FIELD MERGE: This mode combines lines alternately in odd and even fields, regardless of picture movements. This is used for PsF (Progressive Segmented Frame) processing and still image monitoring. LINE DOUBLER: This mode interpolates by repeating each line. This is used for editing and monitoring fast-moving images and checking line flicker. The minimum processing time is less than one field (0.5 frames).

Lightweight Compact Design – Flexible Styling For Picture Monitoring

The PVM-1741 incorporate a lightweight, compact metal body, and its style can flexibly be changed according to the user’s application: a desktop with standard stands, or with an optional stand SU-561, or without a stand for wall application. The monitor supports VESA mounting of 100 mm pitch and an EIA 19-inch standard rack with rackmount bracket. These features are flexible for a variety of users applications, such as desktop editing, office viewing, monitor wall in studio-sub and installing in OB Vans.

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Visit Sony's page for the PVM1741 for even more details: Sony PVM1741

The DIT House is now offering Codex Workflows

DIT House

Codex-Onboard Recorder

This just in: The DIT House now has systems to work with the Codex Onboard Recorder and Transfer Station for Mac OS X. If you are filming a production that needs a Codex Onboard Record or Transfer Station with an Alexa Workflow, give us a call at (818) 253-4DIT (4348). We have spent some time in the last few weeks testing and setting up systems for this new awesome recorder and now they are ready.

Codex On Board Recorder

Anyone who wants to work fast, at the highest quality, using a weather-resistant unit, weighing just 2.5Kg/5.7lb, the Onboard is ideal for single or multi-camera production. It can record simultaneously from two 4:4:4 cameras – for A&B or 3D stereo shoots – or from two 4:2:2 cameras.

Codex Transfer Station

The Codex Transfer Station for Mac OS X is the hub of your file-based workflow. It can be easily configured to automatically provide a full set of deliverables – everything you need for your production and post, from viewing copies to archives. And it can produce them all in less time than traditional systems take to make a single copy.

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Check out more info on these at the Codex Website

Alexa "High Speed" 120fps with 5.0 Update Packet

DIT House


In response to feedback from end users and the rapid take-up of the ARRI ALEXA camera system on professional productions of all kinds, ARRI has created a High Speed mode that allows the ALEXA family of cameras to run from 60 to 120 fps with Apple ProRes codecs, using newly released Sony 64 GB SxS PRO cards that offer a write speed more than twice as fast as the current 32 GB cards.

The 120 fps feature will become available with the upcoming release of ALEXA Software Update Packet (SUP) 5.0 and the introduction of Sony’s new 64 GB SxS PRO cards. Like the ALEXA anamorphic de- squeeze feature, 120 fps functionality can be activated with the purchase of a license. Each license is coded to a particular camera and can be enabled by copying the license to an SD card and loading it into the camera. Licenses can also be disabled, allowing rental facilities control over which cameras are sent out with the High Speed mode.

Read more: Download the Alexa High Speed Datasheet PDF

Red has released RED ROCKET INSTALLER (BETA) v1.4.14

DIT House


Another update to the Red Rocket card has been released today from Red. This update includes: RED Rocket™ drivers (v1.4.14) for Mac and PC, RED Rocket™ firmware (v1.1.15.4) for Mac and PC, RED Rocket™ Breakout Box firmware (v1.0.2) for Mac and PC, RED Rocket™ and RED Rocket™ Breakout Box Installation Guides. The changes since v1.4.10 seem to be described as "Stability Improvements". More more details on this update, visit: Red Rocket Release History

Arri releases Software Update 4.0 firmware for Alexa

DIT House


Today, Arri released a new software update for the Alexa camera. New features and improvements include:

  • Customized looks to be applied to all ALEXA outputs via an ARRI Look File
  • AUDIO Playback from SxS Pro Cards
  • SxS recording can be turned off
  • Auto white balance
  • False color exposure check for Log C images
  • Anamorphic de-squeeze
  • More silent operation at higher ambient temperatures
  • 'Rec Low' fan mode for silent operation in extremely hot environments
  • Peaking focus check in EVF-1 and MON OUT
  • RETURN IN video
  • Compare stored image from SD card with live image
  • Master/Slave lens motor control
  • 3D lens sync
  • Lens Data System (LDS) info display in EVF-1 and on MON OUT

As for the new "Arri Looks Files" feature, this a great new addition to the camera's output monitoring. ARRI Look Files are editable XML files that contain a number of parameters including the ASC CDL primitives slope, offset and power. They can apply a customized look to all outputs (EVF-1, MON OUT, REC OUT and/or ProRes) that are set to either Rec 709 or DCI P3. ARRI Look Files can be created with the ARRI Look Creator software, which is a new Mac program developed by ARRI that will be released soon. Various third party companies are also working on ARRI Look File compatible applications, including The Foundry, Gamma & Density's 3CP, Pomfort and others.

One of the most critical items in this update is the "Removed Adaptive De-saturation (ADS)". An image processing step, called adaptive de-saturation, has now been removed. This step was necessary before SUP 3.0 in order to prevent color clipping in highlights. With the introduction of the new color processing in SUP 3.0 it was found that adaptive de-saturation is not necessary anymore, and in some cases even resulted in image artifacts and slight hue shifts. While this will make no difference to most images, color or saturation of highlights might be different from SUP 3.x. We recommend that you shoot test images before you switch during a show from SUP 3.x to SUP 4.0.

Another cool feature that was added is the "Compare Stored Image from SD Card with Live Image". Now, a JPEG image can be loaded from the SD card into the camera and displayed on the EVF and MON OUT. This can be a JPEG that had previously been grabbed with the ALEXA, but it can also be any JPEG image. JPEGs should be 1920 x 1080 for best image quality, or if not, at least have a 16:9 aspect ratio. ALEXA will try her utmost to scale images that are not 1920 x 1080. It is then possible to compare the stored image with the life image. There are two modes for comparing: Interleave and Toggle. Interleave will create an interlaced image from the stored and the live image, alternating line by line between the two. Toggle switches between the life image and the stored image each time the Toggle button is pressed.

Visit the Arri website to download and read more: Alexa Software Update 4.0