Our on-set DI service ensures reliable, real-time data handling during production. We perform checksum-verified offloads from camera media to multiple redundant destinations using industry-standard tools like Silverstack or ShotPut Pro, preserving full metadata integrity.
We manage camera and sound report integration, log scene/take information, and maintain consistent folder structure across backups.
We also prepare shuttle drives for handoff to post, applying naming conventions and data validation reports to ensure traceability. Drives are labeled, tracked, and—if needed—shipped with tamper-evident cases to our post facility.
All media arrives ready for nearline ingest and editorial prep, with organized structure and verified integrity for seamless pipeline continuation.
Once media is transferred to our nearline server, we proceed with LTO-based archival for secure, long-term storage. We use LTO-8 technology, capable of storing up to 10TB uncompressed per cartridge, written using LTFS for easy cross-platform access.
We generate structured archive sets that typically include:
Camera and audio rushes
Metadata logs and checksum reports
Project files and editorial prep folders (if required)
Each set follows client-defined folder structures and consistent naming conventions, ensuring compatibility with future restoration workflows.
Clients may request single or multiple backup copies. We strongly recommend a dual-copy strategy, with one copy stored off-site.
All archive jobs include:
MD5 or xxHash checksums
Post-write verification passes
Optional printed or digital archive manifests
All footage is subjected to a frame-accurate visual check by a dailies operator to identify issues such as dropped frames, focus shifts, exposure problems, or corrupt media. Monitoring is done on calibrated displays with waveform and vectorscope analysis.
Alongside this, we run AI-assisted QC tools to detect sync drift, audio clipping, codec mismatches, and metadata inconsistencies—providing a second layer of verification.
Footage only moves forward once it has passed comprehensive manual and automated QC.
We handle syncing of picture and production audio using timecode and slate reference, cross-checked against sound and camera reports for accuracy.
Before export, we apply the approved LUT or a basic look grade—based on the DIT, DP, or colorist’s intent—so the dailies reflect the visual tone of the project.
Synced, compressed viewing copies are encoded in H.264 or ProRes Proxy with optional burn-ins, and delivered via Frame.io, PIX, or secure transfer, organized for easy access by producers and executives.
We generate metadata-accurate proxy files (typically Avid DNxHD .mxf) and prepare the project for offline editing. Our assistants first cross-check all footage against camera logs, sound reports, script notes, and DIT records to ensure every take is accounted for and correctly labeled.
They then sync external audio and group multi-camera shoots to prepare each scene for efficient editing.
We also organize rushes according to the script and implement Avid ScriptSync, enabling editors to navigate performances line by line, directly from the screenplay.
Finally, we structure and label bins to match the editor’s preferred workflow—and remain actively involved throughout the cut, providing ongoing editorial assistance as needed.
We offer a flexible, secure remote editorial environment that supports both fully remote and hybrid on-site/off-site workflows. Whether your editor is working from home or in-house, our assistant editors can plug in seamlessly—via VPN access to our media servers and editing systems, and support every step of the post process.
Some common configurations we support include:
Editor at home, assistant on-premises (handling sync, media prep, grouping)
Editor on-premises, client or director reviewing remotely in real time
Assistant working remotely alongside an on-site editor
Fully remote teams with access to centralized media through our secure infrastructure
Our facility is equipped with dedicated secure lines, ensuring high-speed access to shared media, project files, and viewing tools—without compromising security or performance.
All editorial prep is done in Avid Media Composer, including script-based organization and ScriptSync implementation for efficient, script-driven editing—whether your team is across the city or across the world.
Once the cut is locked, we handle full picture and audio conform, ensuring all materials match the final timeline with frame-level accuracy. We prepare final deliverables in any required format—from broadcast masters to full DCP packages, including HDR, SDR, IMF, and other custom specifications.
If subtitles are needed, we can generate them in-house. We also work with a network of native translators who can create or review subtitles in any language—whether for editorial review, festival submission, or final broadcast/streaming delivery.
All DCPs are tested and quality checked in our in-house screening theatre to ensure perfect playback on cinema-grade projection systems.
We’re fully familiar with delivery specs for major broadcasters and streaming platforms such as Netflix, HBO, Disney+, Amazon, and more, and can package your project accordingly—securely and to spec.
At project completion, we prepare a Final Media Rep—a complete, well-organized archive of all rushes, project files, audio, graphics, metadata, and delivery elements. These are written to cold storage (typically LTO or other client-specified formats) in a structured, easily restorable format—ensuring your project remains secure and accessible for years to come.
We are familiar with the archival and delivery standards of major institutions such as NFI, CNC, BFI, DFF, LoC, the Academy Film Archive, and national archives across Scandinavia and the EU.
This allows us to package your project to meet legal, financial, and cultural preservation requirements—whether for public funding, regulatory compliance, or long-term cinematic legacy.