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Issue link: https://digital.macdirectory.com/i/1420529
to ensure they have all of the content they will need if scene selection is changed during the workflow or to ensure the post team has sufficient material to work with. Most shooters overshoot direct to rugged, high-speed SD cards because they can reliably hold the captured data that can be quickly swapped out and verified on set and then copied to hard drives for safe keeping and reverification. We are intrigued about the potential of RAW content direct to the cloud, believe it will happen someday (soon, we hope) and want to learn more about Frame.io’s shoot-to-the-cloud solution at the conferences but … Vin Diesel didn’t sweat it too much when he had to sacrifice a number of $2-$4,000 BlackMagic cameras for his stunts in F9. However, he and director Justin Lin did want to ensure every pixel was captured to minimize post work or worse, an expensive 2nd/3rd take. The cameras may take a beating, but carts are much more rugged/reliable than Frame.io’s Teradek sensitive Wi-Fi circuitry. The combination of being able to reliably capture content digitally and the desire to futureproof projects has led almost every producer/cinematographer to shoot projects in 8K because the final project can be delivered in 4K if necessary for streaming or theatrical viewing. For streaming over less reliable internet connections, it can even be – and often is - delivered in HD. To provide this post and delivery flexibility there is also significant added resolution (~4X higher pixel count) than 4K content and more than 2X storage for UHD 8K footage. In addition, in the M&E industry content only grows with: • Original media exactly as shot (RAW) • Protection clone (never touched) • Worker copy (files renamed, organized)