Fully Remote: Exploring PostHero's Blackmagic Cloud Editing Workflow

So we had the main hard drive in New York, an 80TB drive, that we would dump the raw media to. And through Resolve, it automatically makes proxies. And it would send the proxies as they're making 'em up to the cloud through Dropbox.

And then anybody on their post team that had permissions through Blackmagic has these little Cloud Store drives on their desk which are 8TB. Proxies would go straight down to their little Cloud Store drives. So the media goes up and then goes down to them wherever they are. And so then everyone gets all the media at the same time.

And if they're not plugged in, they plug in later, and the media automatically goes to their drives. And then the beauty of it is you're editing, you're not relying on the internet speeds. You're editing with media on your desk. But whatever you're doing that project is instantaneously sent to all the other teams. So everyone sees what's happening in real time on the timeline.

The hardest part is the math. And so we were trying to simplify the really complicated calculators for a while. So you could come in and say, oh, I'm shooting for 2 days in Toledo and here's like the basics. But it really gets mind-boggling complicated if you start to do your own math.

And so what we did was we took everyone else's math that has done the math and created averages. So you can just sort of see an average of a documentary shoot or an average of an episodic series. And you can look at that and be like, "Oh shit, this is 27 tons per project." And so I can offset that for X amount of dollars.

And so you're just sort of looking at what averages are. And then you pay to offset X amount of tons for your project. It's not like certified carbon neutral or any of those things. But it's like I know that I offset 10 tons of CO2 for my shoot for X amount of dollars, thanks to PlanetHero. So it's doing something instead of nothing.