Everybody in the media and
entertainment world probably uses this backbone for your workflow.
You shoot picture and sound.
You have to download and ship that media.
Sometimes you can sneaker net it across.
Sometimes you need FedEx to do that and then you have to prepare it.
Sometimes that's a lab.
Sometimes you're your own lab, and then the editor can get going.
What Camere to Cloud
effectively does is just takes that picture in sound element and skips
all of those steps in the physical world and goes right into the editor.
Think about it like this.
We're just trying to connect little record buttons to timelines.
We don't want to have the physical world be a barrier
that separates the creative acquisition from the creative editorial.
A year ago we had two partnerships when it came to Camera to Cloud.
One video partner, Teradek.
One audio partner, Sound Devices.
Today we've announced 11 partners
and there's more than 40 integrators in the works.
So a year from now,
there'll be dozens and dozens of tools to integrate into Camera to Cloud.
But what we're going to dive into today is one of the highest fidelity
results, an extremely exciting opportunity with Serv 4K.
And so in order to sort of introduce the Serv 4K, I'm
going to invite my colleague Colin McDonald up here from Teradek.
So I'm a product manager at Teradek and SmallHD.
I help define the roadmap for both of those brands.
So, Serv 4K is our new hardware platform that encodes
HEVC or HD or AVC at higher bitrates.
It's 4K 60 resolution 10-bit 422 color.
And what's really cool is now P3PQ HDR throughput.
And this is really important for creatives and executives alike because it helps
carry the creatives intent through the entire imaging chain.
So Serv 4K is going to cost $2790 and be available next month.
And this is the first time that we are actually sending
what we would consider., sometimes people use the word broadcast quality and now
broadcast quality can be 4K HDR files that's actually going to the cloud itself.
You're looking at Adobe Premiere Pro right now and the Frame.io panel.
So as Colin shoots a take, you can see I have Frame.io built into Adobe
Premiere Pro.
Colin rolls a take no hands here he's going to cut the take.
The Serv is on the back of the camera.
In just a couple of seconds,
this clip is actually going to travel something like 15,000 miles.
All the directions it's going to go and there it is automatically
populating and uploading itself into Premiere Pro.
And so an editor is receiving that take mere seconds
in 4K directly after the asset is shot.
From there I can import that asset right into Premiere Pro.
I'm actually not importing this locally.
I'm using a product called LucidLink, which is a cloud based sharing storage.
So I'm loading that file from Frame.io into LucidLink.
So when I drag this into my timeline, it's not actually here,
it's still in the cloud.
And so I'm cloud
collaborating with other Premiere users because this asset isn't local.
This asset itself is 422 10-bit
and 4K resolution.
This is not really a proxy for some people,
but I want to push this a little bit further.
Frame.io is not just about speed with Camera to Cloud, it's about collaboration.
Take the picture of this QR code.
I'm not spamming you.
I promise we're going to collaborate.
It's going to open up your web browser and it's going to bring you to a file,
a screen that says, Take me to the video or bring me to the video at the bottom.
There should be a little bottom button. It says, Show me the video.
Here's an asset. And Rob made a comment.
You could start going and making comments into the clips.
So go ahead and make a comment at one of those clips and we'll see that happen.
Oh, here's some comments coming in.
We've just taken collaboration to a completely new level
because imagine so many people on your teams
and people that you work with are not really in the same room.
They're not necessarily people, you know.
And because this collaboration layer exists, we can effectively
be strangers in a way and be collaborating on the same assets.
I have control over the permissions, whether this is
private or public links, I can control that watermark, all those things.
We've worked with Red, Arri, and Sony and now Canon is new.
So all those cameras are supported.
What happens if there's a break in cell service?
What if you have no cell service at all?
You're shooting in a tunnel or you're shooting in the woods.
What's cool about the Serv 4K is it comes with an embedded SD cache.
It's removable.
It'll just create a line up of all those assets.
And then when the network comes back, it just starts publishing.
Today, we don't have the bandwidth to upload RAW files yet.
We will, but today we don't.
So we upload these recordings and then you re-link it later when
because the the metadata required to re-link is already there.
Thank you all. Appreciate it.