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working on string-outs for that day’s Daily Recap. Our producers were just double- checking that all the footage we were shooting was coming straight in.” Finding the way home If the Atomos Ninja V loses Wi-Fi signal while recording, when it picks up a signal again, it carries on uploading where it left off. The crews found this out while driving around – the Wi-Fi would reconnect, and the upload would automatically recommence. “It’s like the media can find its own way home,” quipped one of the camera operators. This allowed for a safety net. As Nichols expresses it: “Our schedules are now as watertight as humanly possible.” Over the course of the eight-day shoot, the camera crews uploaded more than 100GB of data using multiple carriers with five of Sclera Digital’s bonded Wi-Fi modems. Thanks to Atomos, when it comes to projects like this, things have just been made a lot easier.
“It’s amazing to know that, once you press cut on a clip, it’s going straight back to the offices”
Daily Recap as well as press clips and social media ranging from TikTok to Instagram to Facebook,” Glass explains. “We also capture panel discussions to deliver for people at home.” Jason Nichols, creative director at Sundance Institute, describes how his team was ‘racing the sun’ at that time. “We were running out of daylight,” he recalls. “Immediately, we would start getting clips from people on the street who couldn’t tell you enough about the films they saw. We were bringing the shots into Premiere and editing on the go. Quickly, we were building this edit, almost in real time; we could see the elements that were still missing and get them all before the sun went down.” Glass explains how the team is getting used to the Camera to Cloud workflow. “That’s what really opened it up for us. One of the biggest impacts is simply time saving,” he enthuses. “I mean, that may seem sort of obvious, but in this context, it’s everything. Having tools that allow for easy collaborations are key.” It’s a view shared by Bodie: “It’s amazing to know, once you press cut on a clip, it’s going straight back to the offices.” “We’re pulling those down as they come in,” Glass says. “Some of us were already
Racing the sun “The biggest hurdle for us is time,”
explains RJ Glass, lead video editor for the festival. “We had about a dozen camera teams in the field at any given time, and with them is a field producer. Every camera had an Atomos Ninja V on the top. The Ninja was critical because, without it, we can’t connect to Camera to Cloud. More than half a dozen editors are cutting throughout the day, into the wee hours of the night.” Glass explains how the team is responsible for lots of content at the festival. “This includes content for The
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