If you’ve ever watched Bohemian Rhapsody, Spider-Man: Far From Home, The Batman, or Bridgerton, there’s a chance Andrew McGovern, known to most as Elvis, was somewhere behind the monitor, helping shape the image as it was being captured. Elvis is a Digital Imaging Technician (DIT) and live grade technician with Digital Orchard’s Orchard Onset team, and his job is to make sure that what’s seen on screen is exactly what the director and DP intended.
“I kind of liken it to being the on-set nerd, sometimes it’s all about backing up data and making sure everything’s secure. But sometimes I’m sat next to the DP, adjusting the image live, working out exposure, colour, making sure it all looks exactly how it’s supposed to.”
Elvis’s career kicked off in spectacular fashion, after landing a role as a trainee on Bohemian Rhapsody, specifically on the recreated Live Aid scene.
“My mate didn’t even tell me what the job was until we were in the car. I was like, wait, we’re doing what?” he says. “I looked back and just saw the set built and thought, man, this is nuts. One of my friends who was actually a supporting artist in the crowd said, ‘This is the closest anyone will ever get to watching Freddie Mercury live.’”
A key part of Elvis’s journey has been Digital Orchard, where he’s signed to their Orchard Onset department, a team composed of experienced DITs, Data Managers, Video Operators and Assistants. Digital Orchard is one of the UK’s most trusted film and digital service providers, known for its workflow solutions, high-end rental kits, data management, and world-class film scanning and restoration. Their proximity to Pinewood and Leavesden Studios, along with a strong reputation for both on-set and post services, makes them a natural hub for productions of all sizes.
He’s especially proud of his work on Queen Charlotte and Bridgerton Season 3, where he live graded every frame over the course of two lengthy shoots.
“With Bridgerton, everything’s bright, pastel, elegant. That look was intentional from the beginning,” he explains. “Jeffery Jur, the DP, said a lot of shows these days were dark and gritty, and Bridgerton was about doing the opposite.” Working in such a fast-paced, high-stakes environment isn’t easy, the hours are long, the gear is heavy, and the margin for error is razor-thin. But Elvis thrives on it.
“There’s something really special about watching a scene unfold and knowing you had a part in getting it right,” he says. “And I’ve met some of my best friends on set, we still speak every day.”
The COVID-19 pandemic, surprisingly, became a turning point in his career. While many struggled to find consistent work, Elvis found himself stepping into more senior roles as the industry tried to keep sets running with reduced crews.
“I think that was the moment I realised, yeah, I’ve got this,” he says. “It gave me a confidence and accountability I didn’t have before.”
That led directly to The Batman, where he worked on the massive motorway car chase scene. “It was pure movie magic. There’s a shot in the trailer with Batman walking toward the camera while a car burns behind him, I was there for that. I remember standing next to 60 people thinking, this is the coolest thing I’ve ever been part of.”
Whether he’s in a van managing data or right on set live grading with the DP, Elvis sees his role as something much bigger than gear and colour wheels. “It’s about the story. It’s about making sure the audience sees what the creators intended. If I’ve done that, then I’ve done my job.”