Alright.
Welcome. Welcome.
Good morning. Good afternoon.
Good evening if you're in Europe, or or, Asia or somewhere else.
I'm gonna give everyone a couple minutes to start joining the, the magic hour. We're happy to have you here. But please, we always like some participation. We like to know who you are, where you're from. Feel free in the webinar chat, pod.
Feel free to add your name. Well, your name is already there, but please let us know where you're tuning in from.
If you wanna let us know what role you play within your organization, that's always good to know too.
But, yes, thank you all for joining, and we'll get started in just a few minutes.
Hi, Elise. Welcome from Minnesota. We have one of our one of our brilliant, solutions engineers is in the Minneapolis area. And so we're always we're always running demos from Minnesota.
Hi, Gabriela, New Jersey, my old home, and Paola Wood from Pennsylvania, also my old home.
We love Pennsylvania.
Yeah. It's it's getting a lot of attention today, but we're not gonna be talking about any, any of that excitement. We have enough excitement to discuss here on the LucidLink magic hour.
Oh, more New Jersey.
Yeah. For for anyone who doesn't know my background, I grew up in New Jersey and lived there for a very long time while working in New York.
Love to see Jersey so so heavily represented here, but I am now out on the West Coast, in Southern California.
Do you I'm wondering for the New Jersey folk, do you recognize that there is a central Jersey, or is it just north and south? That is a long lasting question for any New Jersey residents. East and west. Thanks, Robert.
Alright. Let's see. What time is it? Alright. It's ten o three. Let's give it one more minute for anyone else to join, and we will get started.
Julie, I don't see a specific q and a pod on here.
So I will say, for anyone who would like to ask questions throughout, we will be monitoring the chat pod. So oh, is it there?
Let me see.
Oh, more.
I have to click the more tab. There we go. Alright. So, yes, we do have a q and a pod. So feel free to, put your innermost feelings in the chat. Let us know what you're connecting with, what you like, what your roles are, what kind of workflows you do, where you're calling in from, all that stuff.
Then if you have questions that you would like Casper or myself to answer, we would be happy to as we go along.
Please feel free to put that in the q and a pod. So, yes, this will be recorded and, that recording will be available later.
But that being said, let's get this started. So welcome, welcome to our wonderful magic hour here at LucidLink. I always love these opportunities because this really gives us a chance to talk not only through current technology and what is the industry using, but we really get to connect with people from the community, end users, people who are really shaping a lot of the workflows that we not only rely on now, but are putting together the new workflows that never existed before that the entire industry is going to shift to, I'm confident, within the next few years. These are the new ways of working, and we always love these opportunities to talk to the people who are coming up with it in their own head, and making it a excuse me, a reality. So, I am joined today, so excited to be talking to our good friend, Casper Haney.
Casper is the, cofounder of not only Paradox Studios, but more recently is also the founder and a post executive at, Post Relativity, a post company in, LA. You work with many clients across all different types of content.
Can you give us a little bit more about just sort of your background, how you ended up in not only production and post, but where postRelativity really sprung from?
Yeah.
Hi, everyone. It's, great to be here.
So, yeah, I cofounded Paradox Studios back in, twenty twenty two with my best friend, Jackie, and, like, the business grew incredibly rapidly. We had experience doing events, and working in TV, digital, and branded content.
And so we, were able to, get, Fujifilm as our client.
And, we were then, able to expand with network, kinda episodes and, network deals, for TV series.
And that's when, the post and production world kinda got divided a little bit, and we, expanded into post relativity, where I was able to found that and spin up a whole post production, you know, department for it. So it's been very exciting and a very, fast time of it.
And because you have such a range of different types of content that you work on, that really requires lots of different types of workflows.
Right? You know, can you can you talk a little bit about some of the differences between some of the short form and long form and maybe what you're doing with Fujifilm?
Yeah. So with Fujifilm, it's really interesting, because we have, these, BTS documentaries that we're creating, for the camera, launches and different camera projects. And when, Fujifilm announced it about, I would I think it's almost two years ago, camera to cloud, capabilities, we started to work with that workflow, out with our productions anywhere in the world.
So what we did is, we would send people from New York to Massachusetts to New Jersey, big fans of New Jersey here today. And we would, have them record a a project that was happening, a BTS of it. And then as it was recording, we were already uploading to Frame. Io and using this camera to cloud workflow, in real time so that back here in Los Angeles, we could be, working with the material as soon as we're recording it. So that's yeah.
Yeah. That I mean, it's it's amazing to see it happen, in front of your eyes. And I I definitely wanna dig into that workflow in a little more detail in a few minutes. For anyone who is not familiar with Frame. Io or hasn't seen how it can actually integrate with LucidLink.
We we did a magic hour last month, and, that's available online. So we did a magic hour with, Clayton Dutton from the LucidLink team, who actually used to work at Frame. Io, and Sarah Pontius from the Frame. Io team. And together, they sort of went through, how how the two products, and platforms really work in this in this new environment, and how once you layer them together, you get just exponential results.
And so, you know, Casper, one of the things that I think is so interesting about the workflow that you've put together is it really is maximizing all the strengths that these two different platforms have. You introduced a new element to the workflow, of your own creation.
But before we really dig into that camera to cloud workflow, can you just sort of talk a little bit about your thought process as you're troubleshooting, developing new solutions, developing new workflows?
How do you go about identifying the biggest pain points?
Yeah. The well, workflows are really tricky, because workflows, they tend to work. Right?
At least in some sense of the word is that when you're given a workflow, you kind of walk into a situation and you go, this is this is how we go from a to z. And when you start looking at it, you're like, okay. This this is technically working. This is this is getting me from a to z, but what I always question is how in an ideal, scenario can I improve this? Like, how do I deliver to my client faster?
Are there any pain points that my client is talking about in the workflow? Or if you're working with creatives, creatives will, a lot of times tell you what's on their mind. So they will, give you a lot of feedback and tell you that you need to, improve this pain point for them. And so the key, when you're dealing with these, workflows is to really listen to that feedback and to open your mind to other solutions. I think that it's very difficult when, again, something is already working to be like, okay. I'm gonna actually investigate new technologies, or I'm going to try LucidLink in this kind of aspect of it to see if it works better, and and to solve that. Because you don't you know, at the beginning, you don't know if that is going to improve your workflow, and it's hard to get everyone on board to try something new.
But I have always found that doing these new technologies, trying these new solutions have been, you know, tremendously helpful, and the creatives come back with less and less feedback every single time, which is always my goal.
So yeah.
Yeah. And I I think, you know, to your point, there it's it's easy to have a, you know, an if it if it ain't broke, don't fix it mentality as you go through your workflows. You know, creatives want to work the way that they're most comfortable, which is, you know, translation.
They wanna just go through the process that they've done before. One once you once you introduce something new to them, a new platform, a new workflow, this is gonna require five more clicks, it's incredibly disruptive to to the creative process. You know? You wouldn't you wouldn't think that taking thirty seconds to to find a a clip over here or wait three minutes for a clip to download. You wouldn't think that that would completely take someone out of the zone. But that's really that's really the goal here is how are we maximizing your time in that creative zone, in an uninterrupted creative zone.
Yeah.
I I always like to say that, you know, my background is I I was a television editor. I always speak from an editor's perspective, and I always like to say that an edit is never finished early. You just get as much done before the deadline as you can. And so you're not only dealing with the scramble of people working against deadlines that you don't wanna disrupt the way that they're working by introducing new technology.
But at the same time, you say, well, we might be able to speed up the process and give them more time in their day. And so it's finding that balance. You know, what do you look for in a solution to say this is actually worth investigating?
Or or, you know, what's what's the line where you say, I need to make sure that we're solving this problem?
Well, I was if we could go back just a second too, I I was also thinking I was like, when we're getting creatives to test these new things, a lot of times their feedback can be, oh, it does take thirty extra seconds for me to do this. And a lot of times when you get that feedback, you're like you're kinda crushed because you're like, oh, wait. My solve for this workflow isn't actually isn't actually helping us.
But I kinda like to think of it kinda like a scientific theory, right, where you have a hypothesis and you believe that you are going to be working towards this, you know, this delivering to the client faster. And you're gonna go through iterations of this theory, and sometimes you're going to hit a little bit of feedback or a little bit of that snag. But if you continue with, like, the new kinda keeping up on the new technologies or, just really listening to your team, then you can start to really troubleshoot against that.
Yeah. And I think I think there's also an element that you need to be a little fearless. You need to be Yeah. You you can't be risk averse, especially when the entire industry was kinda thrown into a new environment, you know, obviously, with with the pandemic and remote work.
And we had to we just had to find ways to keep business continuity. You know? We Yeah. We couldn't stop working, but and and the result was we had to say, look.
We have a problem that must get fixed, or we're not we're not working anymore.
What are the tools that are gonna get us there?
And And it's it's cool that what happened from it.
You know? Like, it Yeah. It the pandemic has so many downfalls, but it really is cool to see the you're able to jump in and you're able to do this remote. And when I say jump in, literally, you're jumping into other computers so that you can work remotely, with, you know, your editorial team, which is what we do at Post Relativity. And and you're able to use these, you know, Canada cloud workflows to deliver to your client faster and to surprise and wow them, which is always a really fun part, of it.
Yeah. Absolutely. And I I think, you know, to that point also, when when you're looking at these new technologies, I think that we get very hopeful about some of these saying this is this is gonna solve everything.
And oftentimes, in order to solve one problem, you create one or two other minor problems. And so we're we're always looking for that silver bullet.
But I think that kinda leads us to this workflow that you put together because I think it really does solve so many of the problems without creating new ones that or new hurdles or new friction that that need to be accounted for. I think that we make concessions a lot of the time to say, I'm willing to endure this in order to solve this larger problem.
But when we stumble upon the these new solutions, these new workflows that are really, truly next generation, we start to see the possibilities of not only how we can operate on on an individual level, in the future, but sort of the trends and ways that the entire industry can go.
Before we dig into your, the workflow that you put together, I'm curious as far as, you know, people listening right now.
How many of you you can put in the chat pod? Are you currently using any camera to cloud Frame. Io workflows?
Is super fast turnaround something that you're dealing with on a regular basis?
Feel free to put that in the chat as we continue talking. And, of course, if you have any questions, feel free to put them in the q and a pod. But, Casper, Fujifilm presented you with a situation where you got to highlight this technology for the you know, on behalf of your customer.
Can you talk a little bit about you know, we've been dancing around it a bit. What is this workflow from beginning to end? How are you getting from the camera to final delivery? And what are the areas that you were able to condense to make a more efficient, more streamlined workflow?
Yeah. Let let me see if I can share my screen. Yeah. Okay. Can you see that okay?
Yes.
Okay. Great.
So yeah. So what we did, is so let me start from the beginning. Is that Fujifilm allows you and a bunch of other camera companies have just announced it so you can kinda see the trend of the of, you know, to the trajectory of where everyone is going to be heading towards.
But Fujifilm allows you to shoot, or capture, videos and photos, And then they will with a dedicated Wi Fi solution, you can upload to Frame. Io, as you're capturing.
So, as I'm shooting, it's going to a cloud provided service.
And then what we did, at Adobe MAX, which we can kinda show you some photos soon, is that we, were able to use LucidLink to webhook and bring the assets from Frame. Io from the cloud into LucidLink, another form of the cloud.
And then we mounted the LucidLink.
I'm sure if everyone knows you can just mount LucidLink hard drive like a hard drive onto your editor's computer.
And we were able to edit with Adobe's Premiere, and we had a panel for Frame. Io and a panel for LucidLink.
And we were able to bring in the assets immediately as they were filming.
So as you're recording, videos and photos, we were bringing them from Frame. Io to LucidLink to our editors, who were immediately using them to create, social content.
We did this at Adobe Max, for LucidLink's booth.
And so we created social content and pieces using the h two six four proxies, and then we pushed them back onto LucidLink and to Frame. Io. And, from there, we were able to share them download and share them onto, LinkedIn and, Instagram.
So they were within a matter of I think we got an asset out, in thirty minutes, within thirty minutes of recording the interview, uploading it to Frame. Io, getting it into LucidLink, which happened within two minutes.
We were then able to, review it with Julie and David and, post it, almost immediately after, which then advertised on our socials a, the workflow that we were doing.
Yeah. And it's it's really incredible to see it all happening.
We did it throughout the entire Adobe MAX conference.
It was, you know, three day three days straight of of Casper and team shooting.
It would go straight up to the cloud, you know, camera to cloud, right into LucidLink, and I love that you not only had somebody there on-site and, actually, I I will share my screen again Yes.
To show you, you know, at the booth, we had we had this live edit desk going the whole time, and Casper's editor was there, the, the clips would just pop up right into to Frame. Io.
So as soon as Oh, I don't know if I see your screen.
Oh, You know, I have to share it again.
Okay. I will see. Can can people see my screen? Okay. Great.
Okay.
Great.
Oh, Casper, there I there's, I think Oh, I got it.
Tab.
Yeah. So so we had we had this, we had this booth, and at the booth, you see Casper back here checking out footage.
Casper's editor would would see, the clips land in in Frame. Io. It go camera to cloud right into Frame. Io, get picked up by LucidLink, and I love that there was another editor. This, Adobe MAX was in was in Miami, but you had that other editor in Los Angeles. So it doesn't have to be just the team that you fly with or travel with.
Editors anywhere, you can scale the team to however big you need. If you if you need to crank out a hundred social pieces in two hours because of an event that's happening, you can do that because you can scale the team as big as you need.
And, you know, one of the other things that I love here is that it is happening in real time.
I I used to work, doing a lot of music festivals, and we would send a producer, a field producer out to go interview bands and interview people in the crowd. And it would take a couple hours before they would even come back with the footage. You know, Casper, you just mentioned that you got a piece out from shooting it to delivery in thirty minutes.
And, you know, that's the kind of thing that we just don't see anymore. You were you were doing this at NAB this past year as well. And and as we were talking, as we were on a stage talking about this workflow, you were saying, my phone is buzzing with new cuts that I need to review.
And so to have that instant feedback is really just incredible.
Yeah.
The one thing that we that we talked about at Adobe MAX too was that, I used to be an event producer, and we used to wow the client with same day edits, but the same day edits would be twenty four hours later.
And that was back ten years ago, that was incredible. You know? We we would be running hard drives and cards between, between the videographer to the editor who would be in a hotel room, and then we wouldn't be able to collaborate with anyone else. So if that editor went down for some reason, if his computer crashed, then there there was nothing.
And so now to be able to, a, I don't have to run these cards back and forth between, you know, the offloading station and my videographer.
But I can on I can, on my phone, also see the clips go up, and I can mark which ones that I think are ready to be added to the, to the video or anything. I can make comments and notes via Frame. Io. And then in LucidLink, I can be bringing in the videos instantaneously.
It's it's incredible. We, me and Dave, we always think that it's crazy how much in the future we are.
Yeah. Yeah. I I I actually do say multiple times a week. Out loud, I'll say, I'm living in the future.
Because things like this just weren't possible ten years ago or even three years ago. You know, this is all happening in front of us as we're working. And to that point too, Casper, do you do you wanna talk a little bit about GhostKit? Because Yeah.
I think this is this is just so cool.
Yeah.
So, basically, what I did is that we found when we were using the Fujifilm cameras and, we were in trade shows, we found that we the trade show I don't know if you ever been to a trade show, but it has thousands and thousands of people. Right? And, your Internet access is very limited.
So when we were doing this, we needed dedicated Internet, a provider or solution for us. And so we put some devices together that kind of was like a router and hot spot, and I took it a step further and got a, a whole team together. And I said, let's develop literally a hot spot router, cellular device, called GhostKit, that not only gets good signals from the cellular towers and the Wi Fi around you, but it also provides a strong signal to your camera that allows you to be connected wherever you are.
So, yeah, we developed ghost kits, and you can, you can follow kind of our trajectory with that. We're entering our alpha phase.
So we'll have the products available, and there's gonna be more announcements at NAB.
If you are interested, you can also just Google w w w dot ghost kits dot com and sign up for our newsletter for that.
That's great. And I I really love that this is a perfect example of you look for the solutions out there, and when one doesn't exist, you you make it. You know, you're you you develop this workflow, the camera to cloud, and to LucidLink, get that footage to everyone as fast as possible. As soon as you're done shooting, everyone has it.
But there was still a pain point. And, you know, it was it was how do how do I efficiently get this footage into the cloud?
And and so Ghost Kids are are gonna be really great. You you had it on display at at Adobe MAX, how it was working.
And just the idea of I can wear reliable Wi Fi on me to do to do the heavy lift, it's it's really gonna be, an important part of of these types of of workflows.
Yeah.
And and soon, it'll be just mounted onto your camera. So it'll be even easier. Yeah.
But it it's it's cool to see all the technology developing, and you're you're using it as as it's coming out or you're building it.
Yeah.
But, someone asked in the q and a, how do you get from Frame.
Io storage to LucidLink storage? Do you wanna talk about that a little bit?
Yeah. So, Clayton, from the LucidLink team, so it's it's a beautiful story because I I ran into Clayton, and he said, oh, I have this demo that can bring footage from Frame. Io to LucidLink. And I said, no way. Shut up. I wanna see it right now.
And he showed me that he'd basically, on his own, developed kind of a webhook integration where when the assets are ready on Frame. Io so when you upload to Frame. Io, they'll say, you know, uploading, and then it'll switch over to preparing for playback. And then once it is boom ready, it will then automatically take, with Clayton's, webhook and his, integrations, then it brings it into frame, to LucidLink.
And so he was able to just walk through just a quick setup with me, and I believe it's going to be more accessible in the future, as well. But, yeah, we were able to set it up and just have a remote computer do the webhook and bringing everything in.
And then all of the computers that had the LucidLink mounted onto it, automatically got all the footage that they need.
Yeah. Yeah. It it's so cool to see it in action. And, Casper, you were you were one of the earliest, adopters of of this script that Clayton put together.
As I mentioned before, Clayton Dutton, one of our brilliant solutions engineers, he has a background as a creative, as a broadcast executive, but then he was at Frame. Io as an engineer for a while. He does pretty much everything there is out there. But because of his in-depth knowledge of Frame.
Io and, you know, the ease of integrating LucidLink with pretty much anything because LucidLink just looks like local storage to not only the end user, but to the operating system and the application.
He was able to put together a a script that has some webhooks, and it would just listen for new footage coming into Frame. Io and bring it right into LucidLink. And what's so cool about that too for any for any Frame. Io users is that, normally, when, you know, you pull you pull up your Frame.
Io panel in in Premiere, and you select the the clips that you wanna work with, you're looking at proxies, you select the ones that you want, and you download them, that step is now gone. Because if if the footage is automatically being downloaded, from Frame. Io and moved into LucidLink, then anybody connecting to that same file space, that same LucidLink file space, they already have a path to the high res footage. It is it is, you know, in essence, it it's not actually downloading because, you know, that's how LucidLink works.
Lets you use the cloud without having to download. But the point is, it is now accessible in both proxy and full res version because it takes that step away from the user having to sort through everything, determine what they want, and then go through the download process.
And I think there was a question about, like, from Enoch, the compromising quality. So when I was doing the workflow at Adobe Max, we were using h two six four proxies.
And so for social content, that was perfect for us because we were not looking for anything crazy high res.
But what we found was that, if you, for other workflows, if you needed the ProRes version, a, you can upload it, especially if you're using a ghost kit or something with very strong Wi Fi connectivity. Like, if you're in a building with a studio with dedicated Wi Fi and you're, you know, you're not at a trade show floor, then you can already upload the ProReses. That's just an option in your Fujifilm camera.
But if you just want to upload the h two six fours, then you can do a transfer of the card, and you can relink the proxies, to your full full res footage, after the fact and then use that to export it out. So you're still editing and still working, like, in conjunction with production, but you're able to take a beat and then, export out your final deliverables, once you get the full res cards in.
Yeah. And so just to clarify as well, many of you may know this, but LucidLink does not transform your data in any way. What you put in is what you get out. So, it's not doing any trans codes or or, compression of, you know, the video itself.
If you are if you recorded four k, that's what you get out. You get you get that four k footage. You can, of course, do proxy workflows as as, you know, Casper does with the camera to cloud. It's great for that because to get a four k signal, to your computer does require more bandwidth.
But we also have a, a mechanism to offset bandwidth, issues, a mechanism called pinning where you can pin a file or sort of precache it so that the data is closest to you. The data will be in your local cache.
And without going too far down that path, what that does is it boosts performance. It makes it the data act even more like it's local, and so you're not dealing with having to stream really high bit rate video through what could be low bit a low bandwidth connection. So if you don't have the full potential to to get you know, if you if you're not working with, you know, gig Internet, gig symmetrical, whatever whatever it is, maybe you're working out of a hotel or a Starbucks or as one of our engineers does, he'll edit from the back seat of a moving car using his his cell phone as a hot spot. And let me just say, he's editing in the back seat of a car. He is not driving it.
But but, you know, we'll I I think we'll cross that bridge when we get there with the self driving cars.
But the the point is you only need a modest connection to be able to interact with LucidLink. If you wanna do that full high res four k, eight k footage, you will need a a larger, you know, a higher bandwidth, for your connection.
The last thing that I'll say here though is that we do have a panel, a LucidLink panel that runs natively in Premiere Pro and in After Effects, and that panel actually makes it incredibly easy to do that pinning without having to leave the app. So you can pin footage based on individual clips. You can pin clips based on the bins that they're in, or now you can even pin it based on just the source clips in a sequence.
Choose a sequence, you pin that sequence, it'll gather LucidLink will gather up all the clips and pin that high res footage for you in the background. So that should just make it really easy to access the resolution quality that you want, whether it be, proxy or maybe you're moving on to color and you wanna work with four k.
And it just makes it so that it's it's that much easier. Again, we wanna reduce the clicks. We don't want you to have to leave the environment in order to access things because that's when you lose your train of thought, and you really wanna stay as as, consistent in that in that creative zone as you can.
Yeah. All of our editors during the Adobe Max thing, we all had the panel up, which I think you can even see in that screenshot that we shared, had the panel, and you could see the pinning. And then, both editors had both of the folders pinned for all their footage to come into. So it was automatically caching.
And there was one point, where if you think about the you know, I had an l I had an LA editor and I had a Miami editor. When the Miami editor was off the clock, the LA editor was still on the clock because he was three hours earlier. Right? So he was working on a sequence, that we needed to deliver the next day in the in the morning.
And so he prepared it all and then saved it, put the premier project on the LucidLink.
And then, in the morning, you know, three hours earlier, my, Miami editor was able to just open it up. The footage was already linked. There was literally no relinking process, and he was able to edit immediately. And then we were able to deliver that asset, bright and early Miami time. So with pinning and with, like, the different time zones and collaboration all across the world, it was it was beautiful.
Yeah. And I think you also raise, another great point, which is the different types of workflows that this applies to, there's really different value that this workflow brings. So when you talk about the time zone, I always like to talk about one of my favorite examples of of LucidLink being used in a in a new way is the TV series Atlanta, that that's on FX or was.
They shot their third season in Europe. The storyline was there was a European tour, and so they shot the whole season in in Europe, and they used LucidLink to host their their their media. So what they would do is after a day of shooting, they took their their footage to the Dailies House, processed it, uploaded into LucidLink. But because of the difference in time zone between their European shooting location and they posted in LA. By the time the assistant editors were walking into the post facility in Los Angeles, all the footage was already there waiting for them. And so it's it's almost like this, this magical transport, you know, almost a portal where the the footage is created in this part of the world, and then it just appears, almost instantaneously in another part of the world. And so, Casper, when you're doing some of these Fujifilm shoots in remote locations, you know, can you talk about how how that helps to just get the footage from distant places back?
Yeah. So, I mean, it really is incredible to talk, like I don't know if any if I'm I'm sure people have seen it, but if you haven't seen LucidLink when you are uploading it, you can literally click it. And as it's uploading, you can start playing it in a different location.
It really does it really is like magic. I I it always blows my mind.
So when we integrate with, like, camera to cloud and Frame. Io and we're uploading, in remote locations and then it's, going to LucidLink or going to Frame. Io, it's quite brilliant because you you want your you you know, if you think about it, you want your clients to review things, and you want your producer who maybe wasn't able to afford a flight, to that remote location or it wasn't in their schedule to do it, but they have the producer or the client has all the information that they need to be able to determine whether or not this shot or this frame or this picture is actually what they're looking for. So what's incredible is that you can send your photographers, you can send your videographers to these beautiful locations.
They can get the assets that they want, and then they can upload to frame. And in frame, you can note, exactly what is working for them or what isn't working for them.
And you can determine, it while they're still out in the field, and they can still make changes, which is key because you don't want to fly them back.
But they could be totally off the brief. And if you don't know, then you don't know until they're back.
Yeah. And to and to be able to ask them, you know, I I actually need you to get more of this b roll or or do this pickup or even maybe the audio in an interview was terrible, and you you need to reshoot the the interview.
The the the field team may not may not see that or hear it, and so it sometimes it takes just bringing the team together to be able to review that footage. So, yeah, absolutely. From from sort of a global standpoint, it expedites the the footage back to back to post, back to producers for review.
But this is also great for, you know, news coverage, you know, getting getting news news footage in the field, that super fast turnaround that that you may have. But, Casper, one of one of the things that I loved was after we spoke about this, during Adobe MAX, one of the first people that came to us, to talk to us was a did wedding photography and and videography.
And can you can you talk a little bit about the the workflow that we discussed with him?
Yeah. So wedding wedding photographers are, a brilliant use case, for all of this. Right?
I always love to use this example that, as so as the ceremony is happening, you break up into groups and your family goes to take their family photos with the bridesmaids and the groomsmen.
But your grandmother or your best friend who isn't a part of the groomsmen, they go to the reception. They're drinking. They're having a good time, but they wanna see the photos that you're taking.
So what you can do is with this workflow, as you're taking the photos, you can use a ghost kit or dedicated Wi Fi, and you can be uploading to Frame. Io, which actually which can then go into other applications too, like SmugMug or, any platform that you're using. And then as you're as you're taking the photos, your reception guests can literally see the photos and can download them, and they could with SmugMug, they can even, like, start printing them.
So if you want your grandmother to see your wedding photos day of or if you want your, if you, as the bride, want to share your your special day, the same day, you're able to, and you don't have to wait a few days, a week. My wedding photos took a month to deliver.
So you don't have to wait for any of that, and you're able to get them, with AI even, kinda color corrected and looking really good and ready to post on social media.
So wedding photographers is a beautiful use case because you want those photos instantly. When you're there, you want to see them. But unless you have a, you know, an Instax, you know, printing photo, you and then you kinda shake it or whatever, Polaroid, then you you can't see these photos instantly, until now.
Yeah. And even on the video side too, I love the idea that you can have a one or two minute sizzle of the day ready for for the bride and groom to see at the end of the night. And as as we were talking about just that feedback to producers, etcetera, it also gives gives your team the opportunity to weigh in and say, you know, with the wedding, that's that's critical that you get every shot that you need.
And so to make sure that you have every shot with the bride's family and the groom's family and, you know, however it may be, you're not gonna miss that moment ever again, or you'll be able to backfill it before the night is over. Because once the night's over, that's done.
Okay.
And the the last point that I wanna make on this too is that it enables you to work in a much more low profile way.
A lot of a lot of the time, if you're getting footage in the field, whether it's, you know, you might be working an event like a wedding or or a trade show or a concert or whatever it may be, or it could be news gathering.
You don't wanna be the story, and you don't want your team to be very visible. You know? It it there's so much benefit to being able to sort of operate in the in in the shadows. And so when you can have a team of five or ten or twenty depending on what you need, but you only have two or three people on-site, and not have that get in the way of your efficiency and getting things done quickly, you know, that takes your your business to a new level. You're able to operate in a completely new way.
I I am just looking at the time. I do wanna make sure that everyone has an opportunity to ask questions if if they have any of them. If you don't, that's fine too. But, yeah, if you do have any questions, feel free to put them in the q and a pod.
So as as we're sort of winding down toward towards the end of this, this magic hour, I do wanna give you a chance to kinda talk about what you see as industry trends, where are we going technology, what are we what are we missing right now in our workflows that we really need to to maximize?
Well, that's a very big question, of course. Yeah.
I think what is very easily seen, by the announcements of Canon and Nikon and literally and Sony has already been on board, with their own devices, that, you know, we're going to be delivering to our client faster. That's kind of that's my joke is that I always go, are you gonna deliver to them slower? Is that what your goal is?
Is that we're going to deliver to them faster and faster, and the client is going to make more and more demands.
And, networks are going to have less and less money. So you'll have to condense the amount of time that you're working on it.
But you can't sacrifice creativity. Right? So, and, hopefully, we'll get to a point where it's not too low, but you want to improve your workflow so that your time where you are creative isn't getting diminished.
So, in general, I think that this camera to cloud workflow is going to continue on. We're going to want to deliver to our clients faster. And then I can only imagine that we're just going to want more integrations with it.
Kinda how I talk to how LucidLink is integrating with Frame. Io and how LucidLink is integrating with this Camunda cloud workflow. Like, that is what I think a lot of companies are going to start doing is how do they fit into the workflow?
How do you utilize us? If you're a wedding photographer, do you use SmugMug, integrated with Frame. Io?
Do you use, AI, editing, or how do you back up all your footage after you have it? Is there a way to determine kind of the footage that you're missing from the proxies? Is there a way to relink that? I think that type of technology is just going to naturally happen.
And, yeah, I think that our Wi Fi solutions, like ghost kits and like other things are going to continue to get better, hopefully, so that we can we can, kind of enact this.
Yeah.
Yeah. That's great. And I think you, you know, touching on AI, I I don't wanna open that full can of worms. But No.
No. No. Yeah. Not opening the full can. No. No. No.
But but at this but it it I think it requires mentioning.
You know, I think that as we look at the not just the futuristic next gen workflows that we're implementing today, but the true future, workflows that we haven't quite gotten to, AI is definitely gonna be a part of that, and how we leverage the AI within all that technology is is kinda still to be seen. But I think, you know, it's it's people like you that are doing that testing and and figuring out, you know, what are the ways that we could use it? What are sort of some of the off label uses that we might have for for some of these technologies?
Yeah. And not to re you know? And, my goal specifically, and and I I know a lot of people's goals is to not replace humans, you know, or human jobs with AI, but to find the efficiencies.
Like, if you're you know, there's a really common application with, like, podcasts, right, to use an AI software to just get rid of the holes of the umms and and, when you're doing the podcast. So then what you can focus on is actually the content and the creativity of what they're saying in the podcast, and you can craft this really great and amazing episode. So it's you know, I think it's all about leveraging this new technology, this AI to, you know, help with the performance.
Yeah. Yeah. It's it's meant to be a tool, not to be a substitution for for, for us and our jobs. But, you know, I think I think that we're really gonna reach new levels of of quality and creativity once we have truly streamlined the creative process and reduce the friction as much as possible.
You know, they I'm I'm really excited to see how far we can go.
We do have a question for Mario. Is, is it specifically the performance that LucidLink provides that makes the magic happen, considering you can open the same assets from frame I o, from frame to premiere after camera to cloud, after the camera to cloud step, what specific capability is bringing it into LucidLink providing?
That's a great question. And I I think that this is actually something that, we we did certainly touch upon in the, previous Frame. Io magic hour. We have the quote the the link to that in the webinar, sorry, in the in the chat pod.
But what I would say is what LucidLink does is it gives a centralized place for everyone to have the same stored shared object assets. So all that footage, yes, on an individual level, I can I can look at Frame? Io on my system. Casper can look at it on their system.
But to have the full res version of that asset, not the proxy, that is like local or act as though it's local, that's what Frame I I'm sorry. That's what LucidLink provides in this is it's taking that that Frame. Io proxy, and it's bringing the the full res asset into a shared environment that doesn't require you to then download it individually as well. So Yeah. You'll get access to the entire library. Right.
Yeah. Exactly. You're when when I'm using just Frame. Io, then I'm using the Frame. Io app to download the individual files.
I'm putting it onto a drive or I'm then uploading it to another thing for our and I would honestly just be uploading it to LucidLink, for multiple editors to be using it around the location. So it really LucidLink does bring the magic, to the to the workflow. I would a hundred percent agree with that, because it eliminates that downloading phase and allows the editor to say, oh, it's it's right there. I see it, and I've already brought it into, my Premiere project.
And I've ingested it, and it's syncing, and it's going because I've already pinned and cached the folder.
Right. Exactly. And so for anyone who is not currently a use LucidLink user or hasn't really played with it much, you know, the the important thing to know is that, LucidLink allows the cloud to be that centralized storage. It is a single source of truth. So in order for you to use let's say you have a clip that you wanna use in Premiere, normally, in the past, last century, you would have had to download that clip.
Now LucidLink just sees it as a local drive and uses it as a local drive. So you're streaming parts of the data on demand, and it's served just in time to the application.
So the application just treats it like any other clip that would be on a hard drive, and, LucidLink does all that coordination in the background to make sure that the pieces of the file that you need are appearing at the right time.
Any other questions before we start wrapping up? I really appreciate everyone joining today.
If you haven't had a chance to try LucidLink for yourself, as always, I like to mention that we do have a fourteen day free trial on the website.
All you need to do is log in create a login, add your email address, and we give you the keys to the car for two weeks.
It's not a watered down demo version. It is the full version. So we want you to experience it, feel what it's like to work with LucidLink in your workflows.
And if you have any questions, as always, feel free to reach out to, to either me or, team LucidLink, and we're more than happy to to help you out.
The other thing that I do wanna mention is we have some huge, huge announcements coming this week.
We are unveiling our Lucid three point o platform, our next gen platform, that is officially getting launched later in this week. We also have a new offering, that includes, AWS storage bundled with LucidLink and no egress fees on that.
It is our LucidLink, enterprise on AWS.
Feel free to reach out to, again, myself or anyone through the LucidLink website, and we're more than happy to talk to you about that new offering.
But keep an eye out for all of these announcements. You'll be seeing them from our marketing team in your inbox.
Casper, I can't thank you enough for joining us today. I love talking to you about this workflow, and I can't wait to see what you come up with next and to follow along as as GhostKits, makes its way through the alpha and beta and into the hands of of the industry.
So thank you so much for joining us again.
Thank you. Yeah. And thank you all for joining us today, and I look forward to our next magic hour. Hopefully, you'll join us for that one too. Alright. Thanks so much.
Do you want to know how to go directly from a live video shoot to editing? Join us as we showcase seamless C2C workflows, highlighting real-time editing and seamless production. Casper Hanney, Founder and Post Executive of Post Relativity will share insights on scaling a post-production company, from a few remote creatives to dozens, providing valuable strategies for anyone looking to improve their workflows.
You will see how easy it is to shoot production, collaborate, and edit in near real-time. With LucidLink, you can go from capture to edit from anywhere in the world. We will cover how to find new efficiencies in your video workflows that help optimize your business and give creatives more time to create.
Key takeaways:
Gain insights on how to scale a post-production company
