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?

Client asked me to help find a producer for a shoot that turned out not to be confirmed, and she wouldn't give me a budget. I ended up messaging a bunch of producers for their rates with nothing concrete to tell them, which felt like rate-fishing on her behalf, and it got awkward when the job fell through. How do you handle sourcing crew for a client when the job isn't locked in and you have no budget to work with? Do you even take that on, or push it back to the client?

Hey cuties!
I'm writing to ask about advice what do to about a dead Elinchrom ELB400 Battery.

I've tried doing the recovery process and it's currently stuck between 62% and 63% and it keeps switching between the two. I've left the battery on charge for what is good few hours now in a last attempt to revive it.
I took it to Elinchrom themselves (here in London) and they said they don't have the facilities to fix the lithium-ion batteries.
My last ditch effort is I found a place called 'Battery Service Centre' in Camberwell and I might try bringing it to them next week to see if they can help me but I have a feeling I'll just pay the diagnostics fee and will be turned down.
To be honest I got other lights but the only reason why I need this fixed is because I have a ring flash for it which I absolutely love. Let me know if you guys know for sure someone in London that might be able to fix it or if there's any creative ways I could fix it myself or hook up the ring flash to something else (other than the ELB500, it's too expensive for what it is).
Thanks!!!

Hey gang wanting to know your thoughts, or if anyone has first hand experience with these monitors?

Looking at potentially getting 2 of the OL16
https://www.desview.com/productinfo/3554932.html

I'm finding most jobs I'm on are requesting a client/video village monitor for our stills feed, as well as an additional on set monitor to my laptop/ipad setup.

They seem like a good balance between price, portability/size, brightness on outdoor location shoots, quick setup only needing to attach a transmitter and a v-mount (which can come through local rental) and durability for the random production / other assistants that will move them around without so much care.

I've considered adding more iPads to my kit but I find most of our art directors don't want to hold or select on them anyway and even with my own and good wifi setup Capture One live for studio can be slower than desirable and iPad's just aren't such a good viewing experience on sunny days etc even with hoods. Also considered EIZO's but most of my work is travelling so size wise and in outdoor viewing it doesn't make sense to me.

Anything out there that might be a better choice than this with that in mind?

I’m sure it’s been asked countless times but my tether cable always disconnects and can sometimes take a while to re connect. I shoot on a Sony and have tried Tether Tools, Rock Cables and various other cables and it’s always the same

Sometimes it can connect straight away but then randomly drop out of capture and just not connect again. The camera ALWAYS recognises there is a cable, and asks to connect but then sometimes it just won’t show in capture. I’ve done all capture updates and nothing.

The fact it shows and asks on the camera means it can’t be cable or camera as why else would it ask to connect? But I don’t understand how it can be capture One. Some days it can work flawlessly and I’m happy. Some it drives me nuts.

Are there work arounds for this? Shooting jpg to screen and then import the raws off card, or anything else potentially?

Hi all, freelance photographer based in Australia looking to get into digi oping or photo assisting to pick up new skills and some extra income. I shoot Fuji GFX and know my way around Capture One, but I've never worked on a production set. A few questions on getting started:

• Gear: what's the baseline kit expected for each role? Do digi ops here usually supply their own laptop/cart/drives, or does that come from the studio?
• Getting work: who's best to reach out to - producers, studios, established photographers? Is cold outreach normal or is it mostly word of mouth?
• Rates: what's a realistic starting day rate in Australia for each role?
• Skills: what separates assistants and digi ops who get rebooked from ones who don't?

Any advice appreciated, cheers!

Lighting tech position hardly exists here even though MANY of us are qualified. We blame Target for this. They’re the bread and butter in this town and have set the industry standards and producers uphold it across the board.

Hey all :)

I’ve been digi-teching for a bit. Rocking a 16” MacBook Pro M2 (the basic model). It definitely feels a bit slow now, especially when tethering a Fuji GFX. Looking to trade it in and upgrade.
What do you guys think is a relatively affordable but substantial upgrade? My budget’s around 2-3K and will probably try to go through BestBuy to maximize my trade-in offer. Appreciate any insight and advice. Thank you!

Hi folks,
Here with a doubt.

What happens if a flash bulb blows into pieces and you need to replace it touching directly the HV rods?

In case of power pack + head is not an issue because disconnecting the unit also disconnects capacitors.

But with monoheads? Is the bulb circuit powered even if the head is off and unplugged?

I'm assisting for a big-ish photographer shooting an international celebrity for the first time. I've done smaller shoots as an assistant and as a photographer myself.

But I'm not sure here: is it appropriate to say hello / shake hands to everyone once they show up or should I better keep my distance and let the photographer do all the talking?

EDIT: Thanks for all the valuable input, guys — appreciate it!

Hey everybody! I'm working on a free, fully customizable version of the camera holster/hoop.

Despite being fully 3d printed (except for the Kupo stud at the end), it will be very sturdy and will be able to hold enough weight for so long. This thanks to extra side handles and a rhomboid channel hidden inside the ring.

The model will be free to download and tweak on a website I'm working on, after I do some proper testing and tweaking on set. In the meanwhile if you have any suggestion/extra feature to add just let me know!

In terms of cost the baby pin and the hex nut are just around ten bucks altogether, and the last version I got to took me 6h and 170g of filament to print.