Pro Moviemaker June 2022 - Web

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

CLOUD BUSTING Blackmagic’s new hardware helps create a fast, online way to share content

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For most independent filmmakers, the post-shoot workflow usually involves lots of downloading memory cards to an assortment of portable (then desktop) hard drives, ideally using RAIDs for safety. Maybe even storing a backup of the footage somewhere in the cloud with Dropbox – or iCloud, if you can afford paying the Apple-added tax. Uploading massive files takes an age, which is why the cloud is an off-site alternative for most, in case things go wrong. Getting files to a colleague who works remotely has often been done by manually copying the data to another hard drive, then sending it on via courier. That seems like a ludicrous thing to do today, but moving huge files around online can be expensive, and takes what feels like forever to upload and download. If you are working with remote editors or colourists, and have a client eager to see work in progress, it’s fraught with more problems. A client can shoot a small video clip on their iPhone, then share it pretty much instantaneously. It’s difficult to explain why a 100GB project file doesn’t work the same way. So your editor has to export a finished or work-in-progress file, sending it by WeTransfer or one of the other file-sharing services – maybe Dropbox or Google Drive. You or the client download it and attempt to explain where you want amends. Do this many times on the same project and it becomes very time-consuming. But it seems new ways of working via the cloud are emerging, with remarkable synergy in terms of timing, if not the exact technology to make it work. Blackmagic hardware, Atomos hardware and software, and Adobe’s Frame.io software all came out swinging with methods of collaborative working via the cloud. It looks like these will finally suit small production companies, rather than Hollywood moviemakers alone. They each have pros and cons, but are all heading in the right direction to make affordable and cost-effective editing and sharing via the cloud a real possibility across the board. As a magazine focused on filmmaking innovations, it seems like the next big thing might not be cameras, lenses, lights or audio – but cloud computing. Maybe not as sexy as a new 8K camera, but ultimately a time-saving godsend.

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

Pro Moviemaker is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices where available or converted using the exchange rate on the day the magazine went to press.

ADAM DUCKWORTH, EDITOR IN CHIEF

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