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Earlier this year we chatted with Dane Brehm, one of the busiest DITs around.



He was on location in North Carolina, where he was working on Three Billboards outside Ebbing, Missouri, a Fox Searchlight film, with Ben Davis BSC. Dane has previously worked on many Codex projects, including Into the Storm, Chasing Mavericks, San Andreas and Dead Man Down. He’s also used Radiant Images’ Headcase Cinema Quality VR 360 rig. Developed by Radiant Images exclusively for Andrew Shulkind and HeadcaseVR, this amazing tool utilizes 17 Codex Action Cams which feed into a standard Codex workflow.

How did you get to where you are today?
I got to where I am presently because we all choose to discover, work, learn, share, and mentor others about the art, technology, and commerce of our industry. I hope to never lose that lesson.

Did you go to film school? When did you first come across the job “DIT”?
I went to Academy of Art University in San Francisco, a for-profit art college with a very large equipment cache. The most important thing I learned was that if I was going to pay for my education, then I'd better get every ounce of experience I could. Luckily I found friends who shared my passion. I came across my first DIT in 2002 on the set of a Bay Area Comedy Special Broadcast. He was jolly, very nerdy, about 55 years old and 150lbs overweight. His large 550lb Rack had 2 x 23" Sony CRT monitors, paintboxes, digibeta decks, routers, down-converters, and cables everywhere like the cables were devouring the cart from the outside-in! I was interested in the technology but it was definitely NOT what I wanted to do. I liked being a Camera Assistant/Electrician/Grip in the very small film industry of the Bay Area. If you wanted to be a DIT in the Bay Area you also had to do sound because all of these DITs had also been video controllers/broadcast engineers for years.


When did you first use Codex equipment?

I first came across Codex at Kerner Optical in San Rafael with Marti Brenneis who used one of the Codex Digital Labs for motion control capture and then 3D work. I would chop it up with Robert Glassenberg, Toby Gallo, and Bobby Maruveda, who were my technical support team in those early days.

How’s your experience with Codex’s support team been?

The Codex team has always worked through the situation over the course of my decade of using them. I can't say that about other cutting edge companies. Like all great companies it’s about the people they hire who often move on to do other great things.

Do you have any industry mentors?

Wow, what a loaded question! I've had many mentors in my life both professionally and personally but I can say my thirst for cInema started when I discovered a community in the "The Cinematographer's Mailing List" also known as CML, an email list for those in the industry across the world. Our cinematic art is also a commerce which needs a community. Communities need participation and our participation in CML encourages us to share and collaborate with others.

Images courtesy Dane Brehm

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