Issue link: https://digital.copcomm.com/i/1538283
For post-production professionals, time is always one of the biggest challenges. With the minutes counting — and costing — there's constant pressure to work faster. Moving large, high-resolution RAW files off set and into the hands of editors is one area that can consume valuable time — creatives get more time to create, and businesses save costs. That's why camera-to-cloud workflows are capturing the attention of production teams. RETHINKING THE WORKFLOW Camera-to-cloud is a growing topic, with several well-known companies and cam- era manufacturers offering the ability to send content directly from the camera to cloud storage — typically proxies, since they're much smaller and faster to transmit than the original high-resolution files. For most productions, however, the tradition- al workflow of offloading camera cards at a DIT station remains a trusted ap- proach. But even for major cinematic projects, this process takes time — even when production and post are located in the same city. For globally distributed teams, it can take 24 hours or more to get footage to editorial, introducing risks of file loss, data corruption, or delays due to shipping issues or failed uploads. A Few Solutions in the Market Today • Frame.io Camera-to-Cloud: Integrated tightly with Adobe Creative Cloud, Frame.io supports proxy and original footage uploads, offering strong collaboration tools and encryption. • Blackmagic Cloud: Ideal for users of Blackmagic Design cameras and DaVinci Resolve, this platform supports full-resolution proxy files with a clean handoff into color and editorial workflows. • Sony Ci Media Cloud: Sony Ci's camera-to-cloud capabilities enable se- lect Sony cameras to upload directly to the Ci Workspace, where assets can be organized, previewed, and shared instantly. • Atomos Cloud Studio: Pairs with Atomos hardware for real-time cloud uploads. Great for teams working across multiple formats and codecs. • Signiant Camera-to-Cloud Workflows: Not as well known in camera- to-cloud space, Signiant showcased its ability at the 2025 NAB Show to send RAW 8K Q1 content directly from the Blackmagic 12K URSA Cine camera as it was still recording the file. With its industry-known file acceleration, the file was delivered seconds after cutting the camera. Unlike vendor-locked platforms, Signiant supports your preferred stor- age — AWS, GCP, Azure, or on-premises. The files are also immediately viewable via Media Engine, which streams on-the-fly, per-user proxy segments — transcoded from the original 8K RAW in real time — without requiring pre-generated proxies or additional storage. With camera-to-cloud workflows, content is uploaded as it's captured — or shortly after — over a secure internet connection. Post teams no longer have to wait. Instead, they can begin working almost immediately, whether that means syncing audio, creating dailies, or starting an edit. WHY IT MATTERS TO POST Camera-to-cloud workflows are more than just convenience. They speed up how post teams collaborate, plan, and execute. • Faster Turnarounds: Editors no longer have to wait on couriers or hand deliveries. With files arriving at their editorial destination as they're cap- tured, the post team can jump in immediately — streamlining everything from rough cuts to conforming. This real-time access drastically shortens post-production timelines. • Improved Collaboration: Production and business stakeholders can review footage instantly — across time zones and locations — enabling faster feedback loops and quicker approvals. • Reduced Reshoots: Because footage is available so quickly, producers and editors can spot missing coverage or technical issues before the crew wraps — potentially saving reshoot costs. • Enhanced Security: With footage going straight to the cloud, there's less risk of data loss or theft. No more drives out of your possession. • Smarter Resource Use: Less waiting means fewer idle hours for post teams and fewer reshoots due to missed errors in the field. The Future Is Closer Than You Think That said, challenges remain. Not every camera supports camera-to-cloud work- flows, and among those that do, few can transmit full-resolution camera origi- nals — even fewer can transfer while recording. Many solutions are also tied to specific destinations, lacking the flexibility to send files wherever they're needed. For productions that require transmitting original, high-resolution files, there's an additional hurdle: sustained throughput of greater than 1.5 Gb/s is often neces- sary — a speed that exceeds what compact, untethered wireless transmitters can reliably deliver. While some cameras now offer 10 Gb Ethernet ports, the practical demands of production still require cameras to remain mobile and free of cables. But it's on the horizon. At the NAB Show, camera manufacturers reported increased demand, vendors showcasing camera-to-cloud capabilities drew significant interest, and more solutions are entering the market. As with broader cloud adoption, it's no longer a question of if but when. Productions are actively seeking ways to accelerate content creation and reduce both time and costs. Camera-to-cloud workflows present a real opportunity to reshape the process — unlocking efficiencies that can translate into meaningful savings. Chris Fournelle has worked in media production and post for over 30 years, including 16 years at WGBH, where he managed post-production for acclaimed PBS programs such as Frontline, American Experience, and Ken Burns docu- mentaries. Now at Signiant, he leads content and marketing production, helping showcase the evolving ways media teams create, move, and manage content. COMING INTO FOCUS: ACCELERATING POST WITH CAMERA-TO-CLOUD WORKFLOWS By Chris Fournelle | Director, Content and Marketing Production, Signiant SPONSORED CONTENT