Security and Speed
The moment your rushes leave the camera they are in safe hands.
When it comes to your precious camera data, security is a high priority for us. It is your investment after all. We use insurance approved methods to ensure that your data is backed up and archived to the most secure and reliable medium available.
Hard drives (mechanical or solid state) are great for moving around large amounts of data, editing from and their portability. However, they were never designed to be turned off and left on a shelf. Not even the drives that claim to be “rugged”.
This is why we backup and archive to LTO tape. With a projected shelf life of about 20 years these magnetic digital tapes can store 2.5 TB of uncompressed data at a rate of about 150 MB/second making them fast and cost effective.
In our process, data is written to two separate tapes and is checksum verified to ensure data is copied bit for bit. A visual verification also to takes place to inspect the footage for problems that checksumming would be unable to identify.
We store copies safely onsite and offsite.
Transcoding & Dalies
We can handle the process of converting your camera original data in to any other workable format of your choice.
DaVinci Resolve is our tool of choice when it comes to dailies. Running on a workstation we have optimised for Resolve, it processes fast and is capable of ingesting every common format today. We can output to all edit friendly formats like ProRes Quicktimes and Avid DNxHD MXFs, whether it’s at offline or online quality. We can also serve VFX pipelines with 10/16-bit DPX sequences. Resolve offers good options for working with metadata, LUTs and colour correction at various stages of the workflow pipeline.
Our substantial investment in RED means that we have also streamlined our processes to allow for more efficient RED workflows.
The RED Rocket-X plays a big part in this. This supercharged piece of hardware makes it possible to playback 4K R3D files in realtime and to process 5K footage at 4 times realtime speeds. Thats equates to 4 hours of rushes transcoded to your choice of ProRes or DNxHD.
16oz houses several RED Rocket X cards which can be used for both studio based projects or out on location via Thunderbolt 2 expansion chassis.
Utilising Davinci Resolves Live Grade functionality we have the ability to take a live feed from the camera and work in Resolve as if using captured footage. We can perform complex grades in real-time while liaising with the DOP and director. The graded output can then be fed back into the monitors on set.
Edit & Colour
We like to look at what we are shooting and what we’ve shot, and so for us, having a fast, efficient backbone that is flexible enough to support today’s and tomorrows data heavy workflows is key.
We have been working with 4K footage for over 8 years and understand the requirements for storage. We are able to move and store large quantities of data at speed with a 64TB (RAID 6) EditShare SAN in house. We have multiple Avid Workstations running Media Composer 8 (with Symphony and Interplay options) all connected via high speed 10G copper or ethernet. With read and write speeds exceeding 600MB/s, we can edit with multiple 4K streams at ease.
Our edit and colouring suite is fitted out with 4K monitoring and high fidelity audio which can be played out of Avid or DaVinci Resolve.