9 blog posts found matching keyword search for: backing in Chesapeake
What’s the difference between backing up content and archiving it? Does it really matter? People use the terms interchangeably at times, but there are key distinctions in how these technologies protect and preserve content that can have a big impact in media workflows, including their potential to conserve storage capacity.
At the risk of upsetting the visual creatives out there, I’m just going to go ahead and call BS on the idea that when it comes to video, music is only kind of important. Like those guests who are kind of important enough to be invited to your wedding, but then find themselves sitting at the kids’ table.
Whilst computer-generated special effects and stunt driving make for impressive watching, remote-controlled vehicles allow filmmakers to push the boundaries of what is possible to create bigger, bolder and more elaborate scenes.
Whether for functional need, budgetary alignment, or due to top-down pressure, any media and entertainment companies will benefit by executing parts of their workflow in the public cloud at some level. If an organization has less than, say, 50 terabytes of data to manage, it’s easy to move everything there. For those of you in this minority, you can stop reading this article and proceed directly to the cloud, and collect $200. The majority of organizations creating media have capacity needs that are at least one if not two orders of magnitude larger, i.e. multiple Petabytes.
When the production team spends countless hours perfecting a film, and every actor and technical person gave it their all, it’s devastating to experience a technical problem with the footage. Unfortunately, technical problems do occur and can potentially wipe out a lot of great work. However, there are several best practices production groups can deploy to manage the camera’s storage capabilities in order to safely protect footage.
Over the last three decades, I have served as both a Camera Operator on various shoots in San Diego and as a Video Editor. It is good to have experience in both realms because as an Editor you know what to shoot, and as a Shooter you keep in mind all the shots that the Editor will want. “Tape is cheap” is an adage popular during the digital tape days meaning that the camera operator shouldn’t feel constrained about shooting a lot of footage. Strive to be the camera op whose every clip is usable.
Ask a Filmmaker of any stature, and they will tell you that they never have enough resources (time, budget, equipment), to devote to any project. It’s certainly true for me shooting indie (read: low budget) features. However, for better or worse, it is an area of the business I’ve come to be known for, movies with budgets between half a million and five million dollars. Over a 40+ year cinematography career, I’ve learned a lot of tricks to squeeze maximum production value and good looking images out of meager budgets, making dimes look like dollars on the screen.
Just in case you haven’t been paying attention or have been living under a rock, we are now way past the intro stage of drones, to a full force invasion of epic technology. The drone(s) for the film and video production world have changed so many of the dynamics of production, from planning and safety, and FAA regulations, to getting shots that just couldn’t have been possible even a few year ago.
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