FRAMEIO CLIENT SYNCING DOWNLOAD
The moment the recording stops, the editorial team can download the proxies and can begin organizing the footage, grouping cameras, and assembling scenes. Sound is recorded simultaneously to a different system like a Sound Devices 8 series, which uploads WAV files to Frame.io as they’re being written. A Panavision Millennium DXL2 rigged for Camera to Cloud operation, operated by DP Allisa RooneyĪs soon as the camera cuts, the proxy is uploaded to Frame.io and is immediately available to view and download. The encoder box receives scratch audio from the camera or from a Comtek provided by the sound mixer, and generates proxy files with camera metadata as the camera records. On the set, the camera simultaneously records to camera cards and sends a video signal to a cloud-connected encoder box like a Teradek Cube. The new wayįrame.io C2C eases many of these inefficiencies by making many of the procedures parallel.
After processing is complete, the missing dailies are sent to editorial and the web. Missing content from the set is received by the dailies lab and processed accordingly. The editorial team then begins organizing the footage, grouping cameras, and assembling scenes. Once everything has been accounted for, the editorial team releases the web dailies to a wide group of recipients for review. The assistants go through the dailies and perform their own QC, checking against the reports from the set and looking for missing scenes and takes. Next, the editorial team receives the editorial dailies and dailies bins. Prepping the set for the next day’s shoot. The dailies lab also creates LTO tape archives of all the camera media, audio files, and collected metadata. The next dayĪt the end of the dailies lab shift, which is early in the morning, the web dailies are uploaded to the web dailies platform and the editorial dailies are sent to the editorial team, usually using a transfer service like Aspera or MediaShuttle. And finally, the dailies lab creates a bin for the editorial team that contains all of the day’s dailies, organized by the specifications provided. After transcoding, the dailies are inspected for accuracy and completion. Once the color is set, the dailies colorist pulls stills to send to stakeholders.ĭailies for editorial and web review are then transcoded from the original camera files to local storage. And they’ll also log the footage based on the audio metadata, script reports, and camera reports.Ī dailies colorist then grades the footage based on CDLs from set, balancing cameras and modifying the look further. The dailies lab then begins syncing the footage based on jam sync timecode and manually adjusting for drift or other jam sync issues. The drive contents are verified and production is notified if anything is missing from set. The dailies lab receives the shuttle drive from set and offloads the media to RAID storage. Kally Williams monitors the audio as it’s captured to separate devices. The script supervisor then emails their script report to the dailies lab and editorial once it’s finalized. This drive and the paper camera reports from the camera team are then handed off to a PA, who is driven to the dailies lab by a member of the transportation team once one is available. The DIT also grades the image out of the camera for the cinematographer and the director, saving those grades as CDL files.Īt the end of the day, after the last camera cards and SD cards are offloaded, the DIT adds their CDL files and data reports to the shuttle drive. On the DIT cart, the camera cards and SD cards from sound are offloaded using a checksummed copy to a local RAID storage and a shuttle drive. Digital imaging technician Ellen Feldman stands ready at her cart. While scenes are being shot, the script supervisor records performance notes and circle takes into their script report. Sound is recorded simultaneously to separate media, typically SSDs or SD cards, and these also head to the DIT cart. On the set, the camera records to camera cards, which are sent to the data or DIT cart. That means step 2 can’t happen until step 1 is done, and so on. And we’re just getting started.īut before we take a deep dive into what Frame.io C2C offers, let’s take a look at a traditional digital cinema workflow.
It removes legacy bottlenecks and optimizes your workflows in ways that were previously impossible. Frame.io Camera to Cloud (C2C) is our brand new, secure service that instantly connects your creative teams and stakeholders to the cameras on your set, wherever in the world they might be.
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