Handling all the 4K open gate raw footage from a feature? (5 replies and 2 comments)
Hello, I’m wondering how I’m gonna store all the RAW footage from the mini LF for a feature?
5 codex cards
1 5TB SSD shuttle (or two 3 TB drives)
Offload footage throughout the day from the codex drives to the shuttle
At the end of the day upload the footage to a raided 90 TB drive.
Are there any other ways to handle all that data for an entire feature?
When we shoot, we back up the mags (the cards) to our on-set vault before sending the mags to the digital house. They ingest the footage into the SAN (the digital processing set up). They then sync the material, time it and create the editorial and dailies deliverables. The mags come back to set but we keep them in "quarantine". We don't use them again until the LTOs are made and verified, which are used as back up for the entire film. We make 2 copies of the LTOs for each day of shooting. Once we get the email from the digital house that verifies that the LTOs were successfully made and there are no corrupt files, we can put those mags back into circulation. We generally make 2 sets of LTOs so we can keep one at our facility and send the other set to the studio once a week. This way, the two sets are not physically in the same place.
Thanks James. Great info.
I love reading the details of your data storage flow James. Very helpful. I would guess that LTO's are the most stable format for long term storage, is that correct? Also, on average could you say how many TB of footage are shot for a typical film? 100TB or so?
Thanks so much.
Also, could you say what your onset vault is? SSD's? Thank you!
Hmm, Simon. I don't think there is a "typical film". I do know we shoot a much lower ratio than most. This is because we shoot single camera and generally have worked out a general plan ahead of time. I think we budget 2-3 hours per day but rarely make 2 hours per day.
Yes, our DIT does have SSDs.
"I don't think there is a "typical film". I do know we shoot a much lower ratio than most. This is because we shoot single camera and generally have worked out a general plan ahead of time."
If you ever listen to a lecture or talk by Roger, he speaks of the importance of preparation over and over again! It is almost the unifying theme running through his work.
I have worked with 'experimental' directors (in audio) and the experience is anything but pleasurable.
There are some films that we do that are more improvisational. “Jarhead” is an example. The camera was handheld by Roger throughout. Although Sam & Roger spoke a lot during the prep about what they wanted to do, when it came to the shooting day, we shot the rehearsals rather than rehearsing first and figuring out what the actors would be doing and then planning the shots from that. It was fun and worked for the movie and added a lot of energy. Sometimes the spontaneity you get really translates to the film. But the director and the DP have to have good communication for this to work. Which is interesting since it was the first film Sam and Roger worked on together. They obviously developed a good way of communicating during prep.