Workflows for large productions and studios are typically custom, all depending on their size, equipment used, and turn around time needed. The problem is that this style of media management opens your project up to all kinds of vulnerability and inefficiencies.īefore diving into budget-friendly media management, let’s look at how a professional production might handle its media. I’ll be the first to say that yes, this can get the job done.

Once delivered, it’s copied to an ‘archive’ hard drive and thrown on a shelf to be forgotten, if the project is archived at all. SD cards, hard drives, etc.) After shooting wraps, the media is then copied to an external or local hard drive where it is also edited, rendered, exported, and delivered. It can happen on a large assortment of cameras (which all have their own intricacies), but you will ultimately end up recording media onto some form of integrated or attached digital storage (e.g. Maybe this is a short indie film, corporate video, or local TV ad.įirst, there’s the shoot. Let’s first look at what a typical workflow might look like for a low budget production. Let’s look at some basics of a good media management workflow and how to implement that workflow on a low budget. If you’re doing this for a living with clients or other stakeholders that have large investments at stake, you need a more robust system.īut performing A-list media management isn’t cheap or trivial. It’s easy to fall into traps of simply copying, pasting, and storing media on a hard drive. Luckily, the future has arrived, but still, working with digital media presents its own set of challenges, especially when moving through the production to post-production pipeline. Some might even remember splicing film together. I’m sure many of you reading this can remember digitizing and laying back tapes. Digital media has revolutionized the way we shoot, edit, and deliver.

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