This eliminates any potential cross-contamination from another unrelated project. The benefit here is that changes can be made on the fly, while the camera and crew are still set up for the day, limiting the time taken for complicated and expensive reshoots.Ĭamera assistants can also set an expiration date for the Camera to Cloud upload portal so that once a rented Teradek system is returned to the rental house, the files no files can be pushed up to the account. But they cannot download them without permission.Ĭomments can be made in real-time and uploaded back into the Frame system for the production team to review. If you have made reviewed comments via Frame in the past, you will be able to take advantage of Camera to Cloud moving forward.Ĭredit: Frame.io Camera to Cloud is also compliant with Frame.io’s industry-leading security protocols, making anyone who has access to the client’s account capable of logging in and viewing the encrypted data files. On the software side, Camera to Cloud supports Blackmagic Resolve, Adobe Premiere Pro, Apple Final Cut Pro, and Avid Media Composer. This gives productions a solid rental option for taking advantage of Camera to Cloud, no matter their budget. As for audio support, Camera to Cloud is built into Sound Devices’ Series 8 audio recorder. Partially supported camera systems include Sony VENICE, Canons EOS Cinema Cameras, and the Panasonic VistaAlta series. SDI-based cameras supporting the Frame C2C system include all current ARRI models, RED’s DSMC2 line, RED Komodo, and Panavision. The connection is also available through a mobile device when a hotspot is unavailable. Consequently, when the path is reconnected, the data is automatically uploaded via 4G/LTE. If the modem path is disconnected, C2C will save the data to an SD card or HDD. What makes it really interesting is that Camera to Cloud happens automatically. While AVSync is in BETA, editors can rely on an audio scratch track recorded and sent from the system itself.Ĭamera to Cloud can also be connected to as many cameras as needed, networking to a single hotspot, and all footage uploaded as the broadband connection allows. When Frame.io's network receives both audio and video files, they are joined together through AV Sync, Frame’s software that can sync both files through timecode. All in the Cloud.Ĭredit: Frame.io The process uses the Teradek Cube 655 wireless system, as well as Sound Devices Series 8 Audio recorders to wirelessly receive the proxy files and then transmit them up to the cloud. Frame.io is also working with ColorFront, which can offer basic color correction to create real-time mastering. Moreover, post-production supervisors and editors using NLEs no longer have to wait for transporting of hard drives with the original footage or ingestion time to get started putting together a cut of dailies. The advantage here is that department heads can get a head start on just about any changes that the creative process generates in the middle of a shoot. Once uploaded, these proxy files are viewed and commented upon in real-time by anyone who has access to the Frame.io network. How does Camera to Cloud manage massive RAW 8K video files that are gigabytes in size? Camera to Cloud generates lower resolution H.264 proxies at 3-4 Mbps with timecode. Before this solution, users would have to wait for ingestion of video for post and then move up to Frame.io, a process that could take hours, or even days. From the moment the director says cut, camera shots automatically upload to the cloud, making them nearly instantly available to editors and other post-production team members. Wells calls the new Camera to Cloud the “Holy Grail of Video Production,” and the idea couldn’t be simpler in its concept.
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