• Nic at work with his camera cart. Having a large monitor on set, along with the ability to stream to other viewing devices, helps the team stay aligned during the selection and grading process. It also makes it easier to visualise how the final images will appear – especially if text placement needs to be considered in the composition.
    Nic at work with his camera cart. Having a large monitor on set, along with the ability to stream to other viewing devices, helps the team stay aligned during the selection and grading process. It also makes it easier to visualise how the final images will appear – especially if text placement needs to be considered in the composition.
  • From the series Release the Crowd.
    From the series Release the Crowd.
  • From the series Punk in Asia. While many cultures revere conformity and placidity, punk has taken root as a relevant and very alive form of dissent.
    From the series Punk in Asia. While many cultures revere conformity and placidity, punk has taken root as a relevant and very alive form of dissent.
  • Taken at Bloodstock Festival in the UK. Nic has an affinity with sub-cultures and music.
    Taken at Bloodstock Festival in the UK. Nic has an affinity with sub-cultures and music.
  • From the series and photobook Newtown Shopkeepers, which was also exhibited at the State Library of NSW. Image: © Nic Bezzina
    From the series and photobook Newtown Shopkeepers, which was also exhibited at the State Library of NSW. Image: © Nic Bezzina
  • Literally having all your equipment ready to roll. Camera carts can cost anywhere from $1,500 – $5,000. And then there is the other $10,000+ spent on high-end laptop, monitor and assorted gadgets.
    Literally having all your equipment ready to roll. Camera carts can cost anywhere from $1,500 – $5,000. And then there is the other $10,000+ spent on high-end laptop, monitor and assorted gadgets.
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Interview: A day in the life of a DigiTech

By Tim Levy | 2 July 2025

From big budget campaigns to lightning-fast location resets, we step into the world of a digital technician – where technical mastery meets creative intuition.

In the high-pressure, pixel-perfect world of commercial photography, there’s someone working just outside the frame to make sure everything runs flawlessly. Enter the digital technician – or DigiTech – a role that’s part IT guru, part creative collaborator, and entirely essential post production expert and artist. While their name might not appear in the credits, the work they do is often the difference between chaos and cohesion on set.

We speak with Nic Bezzina – one of Sydney’s top freelance DigiTechs about how to keep the shoot flowing, the gear he uses, and why the job goes beyond hitting ‘import.’

What does a digital technician (DigiTech) actually do?

Literally having all your equipment ready to roll. Camera carts can cost anywhere from $1,500 – $5,000. And then there is the other $10,000+ spent on high-end laptop, monitor and assorted gadgets.
Literally having all your equipment ready to roll. Camera carts can cost anywhere from $1,500 – $5,000. And then there is the other $10,000+ spent on high-end laptop, monitor and assorted gadgets.

As a DigiTech, I’m essentially the technical backbone of a photoshoot. I handle everything from camera setup and tethering to file management, colour grading, backups and archives. Capture One is usually our primary tool – knowing it inside and out is essential for the job.

I’m often the first person to see the images as they come through, which means I need to catch any issues with focus, exposure, lighting, or frame distractions before they become bigger problems.

Often, we (the photographer, client, and I) have a pre-agreed preset or filter that’s applied to the images as they’re ingested into Capture One. This lets everyone preview a close approximation of the final image – even down to how it may be cropped or how it will work with accompanying text.

Previews can be shared instantly – either locally via iPads or team members’ laptops, or remotely via Capture One Live. This allows clients to provide immediate feedback through comments, star ratings, or colour tags.

On top of that, I may set up monitors (sometimes wirelessly), create mood boards, add overlays, or quickly mock things up in Photoshop when needed. And of course, when tech issues inevitably arise, my job is to troubleshoot quickly and quietly to keep everything running smoothly.

From the series Release the Crowd.
From the series Release the Crowd. Nic has an affinity with sub-cultures and music. Image © Nic Bezzina

How did you get into DigiTeching?

I started as a lighting assistant, which gave me a strong foundation in understanding how light behaves. I then spent two years representing Phase One and Capture One in Australia, which significantly deepened my technical expertise. From there, transitioning into freelance DigiTech work felt like a natural progression.

That lighting background is crucial – it helps me quickly spot when something’s off and communicate clearly with the lighting team to address issues before they become bigger problems.

Do photographers trust you to make the selects and grade? Or is it more collaborative – or even client-led?

Every photographer works differently. Some fully trust me to handle selects and grading; others prefer to retain control. It's all about building trust through clear communication and developing an ongoing working relationship. I always clarify what each photographer expects from me – never assume.

What are the biggest technical challenges you face on set, and how do you troubleshoot them?

The biggest challenge is maintaining seamless connectivity between all devices – cameras, monitors, printers, routers, and more. One failed connection can derail the workflow. I mitigate this by rigorously testing everything beforehand and always bringing backups.

Can you walk us through your typical workflow from arrival to wrap?

From the series Punk in Asia. While many cultures revere conformity and placidity, punk has taken root as a relevant and very alive form of dissent.
From the series Punk in Asia. While many cultures revere conformity and placidity, punk has taken root as a relevant and very alive form of dissent.
Image © Nic Bezzina

Arrival & Setup:I meet with the team to understand the shoot plan and client expectations. Then I set up all gear, create a new session in Capture One with correct folder structure and naming conventions, test tethering connections, and perform an initial backup before the first shot.

During the Shoot:I monitor image capture in real time, adjust grading, present images to clients, back up files after each look (usually to two external SSDs), and update mood boards as needed.

Post-Shoot Wrap:I export low-res JPGs for client review, confirm all files are backed up and organised, hand over the drives, and pack down gear – triple-checking nothing gets left behind.

What software do you rely on most?

Capture One – the industry standard for tethered shooting. ChronoSync – for multi-drive backup management.

What other gadgets do you have in your kit?

I always carry fluoro tape, ColorChecker Passport, Sharpies, lens cloths, air blowers, spare tripod plates, batteries, cables, Leatherman multi-tool, Allen keys, and SSDs.

How do you manage colour calibration across different monitors and devices?

I use Eizo ColorEdge CG monitors with built-in calibrators and their ColorNavigator software. For cross-device consistency, I rely on colorimeters like the Spyder or X-Rite i1 Display.

Taken at Bloodstock Festival in the UK. Nic has an affinity with sub-cultures and music.
Taken at Bloodstock Festival in the UK. 
Image © Nic Bezzina

What kind of shoots do you typically work on – and what's the budget like?

I mostly work on commercial shoots. In Sydney, a senior DigiTech typically charges: $500/day for editorial or e-commerce, $750/day for advertising.

Most of us also rent out our gear – MacBooks, monitors, camera kits, tethering equipment, location setups, and digital carts.

And yes, I’ve heard of (and worked with) well-funded private clients hiring DigiTechs to manage everything – from lighting to post – just for their social content.

What’s the most high-pressure shoot you’ve ever worked on?

One of the most intense shoots was for the movie poster of The Gentlemen by Guy Ritchie. We had to set up a studio behind an active film set and only had five minutes with each star – Matthew McConaughey, Charlie Hunnam, Michelle Dockery, Colin Farrell, and Hugh Grant.

When Michelle Dockery arrived, Guy Ritchie appeared and told us to clear out immediately for the next scene. We had ten minutes to dismantle, relocate, rebuild 20 metres away, and resume shooting. It was a crash course in staying calm, thinking fast, and being endlessly adaptable.

From the series and photobook Newtown Shopkeepers, which was also exhibited at the State Library of NSW. Image: © Nic Bezzina
From the series and photobook Newtown Shopkeepers, which was also exhibited at the State Library of NSW.
Image: © Nic Bezzina

You’re a photographer in your own right – what personal work are you proud of?

One project close to my heart is the Newtown Shopkeepers series – portraits and interviews with the people behind independent stores in Sydney’s vibrant Newtown. It was a celebration of community and character.

I’ve also worked on series documenting music festival crowds, young Muay Thai fighters, cam girls, and stories from Japan, Vietnam, and Thailand. On the commercial side, I’ve shot for brands like Xbox, The New York Times, BBC, Booking.com, and Warner Music.

Being a photographer absolutely makes me a better DigiTech – I understand composition, exposure, and the photographer’s mindset, which helps me support the creative process more intuitively.

How has the role evolved – and where do you see it heading?

AI is already shifting the workflow – like one-click hair masking in Capture One. What used to be a slow Photoshop job now takes seconds, and I can apply that mask across an entire shoot automatically.

Remote collaboration will keep evolving too, with more real-time global feedback systems and a move toward cloud-based workflows.

But no matter the tech, the fundamentals won’t change: great DigiTechs will always be the ones who can balance complex systems with creative understanding – and solve problems before anyone else even notices there’s an issue.


You can see more of Nic's work on his website here.