By using Blackmagic Design equipment, Scopebox software, and a calibrated 10 bit monitor capable of displaying the 709, DCI-P3, and the Rec.2020 colour space I can directly view your camera’s feed via its SDI or HDMI port.

This ensures I can prevent any problems with the image from negatively impacting your production, all before you press the record button.

In addition I can monitor up to 4 camera feeds directly and view them all in a multi-view configuration in addition to outputting to 3 separate broadcast monitors.

After the initial backup I can then make sure that all recorded footage is automatically archived to multiple external drives, LTO tapes, or RAID arrays.

These drives can be formatted for use on Windows (NTFS) or Mac (HFS+), which makes compatibility issues a thing of the past.

When backing up your data I also make sure to utilise checksum verification techniques and spot checks to ensure that your data is a perfect 1:1 replica of the original.

When lighting solutions prove too impractical colour grading can be performed on location to create custom visual looks.

This gives your project a unique look that can then be sent to the colourist in post-production for final tweaks.

This allows the DoP and creative team a lot more control over the visual look of your finished film.

After the footage has been safely backed up it can then be exported out in a matter of minutes as dailies for viewing by the director and other members of the production team.

These can either be uploaded to the cloud for viewing on a secured frame.io account or streamed locally out to iPads, allowing selected crew to review dailies on the move.