A decade from now, when you go to a set, wherever that set may be,
if you show up with a hard drive, it's going to be as weird
as if you went on a set today and someone had a DV cam tape.
You know, you expect to someone show up with a videotape
camera and be like, what are they doing right?
That's a little awkward.
And in ten years, it's going to be the same experience
when it comes to hard drives on a set because ten years from now,
every single asset that is acquired digitally, video,
audio, document, metadata will all be born in the cloud.
We do this through a technology that we call Camera to Cloud Connections.
And when we launched Camera to Cloud last year, we only had two partners.
Our two partners last year were Teradek, which was our video partner,
and Sound Devices for audio. It worked great.
We had several thousand productions shoot right to the cloud,
but they had to use these two products.
What's happened today and at NAB
2022 is we've expanded that to 11 companies
that can all acquire assets right into the cloud.
But now we want to get to the main event.
and what we're talking about today, which is Camera to Cloud for everyone.
I mentioned there's a tool with Atomos there's a tool with Teradek,
but there is one product that everybody has access
to which is the camera in your pocket.
And FiLMiC Pro is the world's most popular
paid video recording app for iOS and Android.
And the beauty of this tool is that it can now
connect in Frame.io and we can integrate people's phones.
And that happens at every single scale.
Influencers certainly love their phones. We know that.
But mid-market, broadcast, we have people
shooting in Eastern Europe right now using phones as their transmission.
That's their primary camera right now. Right.
We have people all over the world using this for news, sports,
nonfiction, documentary, and even in the cinema space.
This is the best solution for Viewfinder and sets
and to be able to do location scouting.
I'm Chris, CTO of FiLMiC, as you can see.
And my domains
are research and development and color science at FiLMiC.
As it happens, Adobe customers and FiLMiC customers, there is significant
overlap there and Frame.io solves a very specific problem for us.
As was mentioned previously, you can acquire footage very easily with this.
I've been seeing a lot of this throughout the conference.
This is what I call the meat crane.
You know, it's very easy to record footage.
It's not easy.
It's not trivial
to get this footage off and distribute it to a variety of stakeholders.
And Frame.io makes that effortless.
Well, what you're seeing right here is the FiLMiC Pro interface.
There is a lot going on. I understand.
As you can see, we're made it to a depth of field adapter.
This is projecting an image on a ground glass plate, and FiLMiC
Pro is in turn seeing this.
What you're seeing right here is actually a modem
this modem is from the company Sclera Digital.
And what they do is they produce industrial level, professional level LTE
hotspots.
This will have four SIM cards in it.
So in this case, it can have T-Mobile, AT&T, Verizon and Sprint.
And it presents those by looking at all the towers as a single Wi-Fi network.
This is running off of a camera battery
and it will run for 8 hours or more on a single camera battery.
And that means wherever you go on set, you're just providing Wi-Fi over LTE.
But ultimately, if you factor in what we're seeing here,
I think this is what points to the future of cinematography.
An iPhone 13 Pro is a sensor in a camera.
It is a monitor, it's a transcoder.
It's also a media card and a modem.
Today, if you were to look at all those independently,
those are six different companies that make all those elements.
My prediction is that a decade from now, we're not all shooting on phones
rather, cinematography is going to have all those elements baked into one device.
And over the next ten years, you'll start to see camera, lens, monitor,
media, transcode, and modem all start to come together.
I want to switch to my laptop now as Chris
rolls and we're going to look at Premiere Pro.
He is now uploading to Frame.io.
Can we come to my laptop, please? There we go.
And here are the clips populating in Frame.io, in the Frame.io audio panel.
You could see the clips that Chris is shooting
are automatically populating inside the app.
So I can grab these clips and start importing them.
And when I get these clips, I can start the editing process.
So we're now taking clips that we just shot and they're in a timeline
and we're getting this
with the same timecode and clip name of the original Prores raw file,
which means you can relink these later and you can do this at high frame rate.
So if you shot 120P, you could get the proxy at 120P, edit,
and just relink it to the original Prores 4k file later.
Thank you so much for the time today. Have a great show.