Every time I pressed stop, the iPhone took a few extra seconds to downsample a proxy file after I clicked “yes” at the prompt. You have three upload options: automatic for all clips, don’t upload at all, or have Filmic Pro prompt you at the end of each recording. The file sizes of the original 3K clips are roughly 24 times larger than the 720p proxies. They appear a bit crunchy, but good enough to edit with. I picked 720p, which encodes at a variable bitrate ranging from around 3 to 6Mbps. You may choose from three different proxy formats. 3K clips give me extra room for punch-ins when working in a 1920 x 1080 timeline. This records an HEVC original at about 76Mbps. The recording format was 16×9 3K (3264 x 1836) at 24fps using the Filmic Extreme codec. I filmed on a sunny Saturday morning at a local park. From the Filmic Pro app settings panel, sign into the Frame account to access the C2C-enabled project. If you don’t, then there’s no place for the camera to upload clips. Part 1 – location productionīefore starting, create a project in Frame.io and turn on C2C in the project settings. Of course, I’m a workflow nerd, so the producer and editor are going to be using different NLEs – well, just because they can. The editor is in yet a third location and he’ll conform the high-res camera files, add effects, graphics, color correction, and finish the mix to deliver the final product. The producer is in another city and he’s going to turn around a quick cut for story content. Here’s the premise – three members of the production team (in reality, me, of course), all located in different cities. I have an iPhone SE and the software, so it was time to run some workflow tests in a hypothetical scenario. If you are shooting with multiple iPhones or double-system sound, then be sure to slate the clips so the editor can sync the files. Filmic Pro won’t add a timecode track in this mode, so all files start from zero, albeit with unique file names. Both high and low-res files are stored on the phone within Filmic’s clip library and have identical lengths and start/stop times. Filmic Pro encodes the proxy file after the recording is stopped, not simultaneously. Accurate relinks between file versions are made possible by common timecode.Īn Android phone or iPhone does not require any extra hardware to handle the proxy creation or uploading. There is some latency in triggering the proxy generation, so start and end times do not match perfectly between the OCF media and the proxies. High-res OCF (original camera files) media is stored on the camera card and the proxies on the Teradek. In those situations, the live video stream from the camera is simultaneously encoded into a low-res proxy file by the Teradek device. Understanding the Filmic Pro C2C integrationįilmic Pro’s C2C integration is a little different than Frame’s other camera-to-cloud workflows, which are tied to Teradek devices. The Filmic Pro/C2C workflow can prove worthwhile when fast turnaround and remote access become factors in your production. Professional filming with iPhones has become common in many market sectors for both primary and secondary videography. Frame’s C2C feature requires Filmic’s Cinematographer Kit (an in-app purchase), and a Frame.io Pro or Adobe Creative Cloud account. The update already popped up in your Filmic Pro settings if you’ve kept the app current. However, one of the newsworthy integrations recently announced was the addition of C2C capabilities for iPhone and Android users with the Filmic Pro camera application. It’s not news that Frame.io has been pioneering camera-to-cloud (C2C) workflows.
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