<p>If your system has external SAS, you can either buy an older LTO Tape Drive System, such as an LTO-5, or rent one. Or go for an LTO-6 or 7 drive. </p>

<p>Linear tape really is the best choice for a number of production environments which is why so many post houses have adopted it for footage back up. </p>

<p>The tapes have large capacity, are enterprise secure, have built in fault tolerance, are fairly easy to use, and it's the CHEAPEST way to archive. </p>

<p>An LTO-6 Tape will hold 2.5TB uncompressed content (raw video), will write at speeds of roughly 140mb/s and the tape will cost you about $20. </p>

<p>A 2TB HDD Bare Spinning Drive is far most costly than that and will not run/be locked/greased up if you try to use it 50 years from now. </p>

<p>They are archival for 30-50 years. </p>

<p>It's what the National Archives uses. </p>

CC BY-SA 4.0
2019-04-05T10:05:02.250Z
Thank you for the answer. But that's not quite what I am looking for. I want to store on normal HDDs. Regardless of the storage type, my main question is WHAT CODEC I should use to archive the footage. As I allready colour graded the video, I won't need the full flexibility of raw
Timothy Lukas H.
CC BY-SA 4.0
2020-12-25T14:02:59.097Z
"Archive" implies long-term viability.  Storing the camera original to LTO is the best practice for that goal.  Future technologies only improve the interpretation of RAW footage (BMD's gen5 color science, e.g.).  If you compress it, you're shooting yourself in the foot.  If you store it to HDDs, their failure is imminent.  Besides, BRAW is a *compressed* RAW codec in the first place, and doesn't take much more space than ProRes, but adds considerable flexibility and performance.
Jason Conrad
CC BY-SA 4.0
2019-04-05T08:03:50.873Z
2019-04-05T08:03:50.873Z
McFlySoHigh
<p>I am filming with my BMPCC4k and figured out to be my workflow as follows:</p>

<p>Import Clips to harddrive.
Create Proxy's using Adobe Media Encoder.
Edit in Premiere Pro.
Then Color Grade in Davinci.
Then replace Proxys with Color Graded video.
Export.</p>

<p>I am now thinking about how to archive those videos. The budget of my projects don't allow storage space of multiple TB each.
So I was thinking about storing rendered videos, so that we can at least make slight changes afterwards in editing or export diffrent formats.</p>

<p>What would be the best codec to use to export the video? With a good compromise of quality vs space. I would say no more than 50mb/s.</p>

<p>I am using Windows.</p>

CC BY-SA 4.0
2020-12-25T13:45:26.863Z
If you edit in Resolve, you can use Resolve's Media Management for the whole project, transcode all, or only used media; with, or without handles.  Roundtripping from PP is fraught with peril.  It's often necessary when you're working with other people who use Adobe products, but the only good reason to do it when you're the editor and colorist is to prepare yourself for the pitfalls of roundtripping for paying clients.  Otherwise, it's an exercise in masochism.  Try it with multichannel audio for a real treat ;-)
Jason Conrad
<workflow><raw>
Archival storage for RAW video
Timothy Lukas H.
# Archival storage for RAW video

(Asked by: username_0 on 2019-04-05)

I am filming with my BMPCC4k and figured out to be my workflow as follows:

Import Clips to harddrive.
Create Proxy's using Adobe Media Encoder.
Edit in Premiere Pro.
Then Color Grade in Davinci.
Then replace Proxys with Color Graded video.
Export.

I am now thinking about how to archive those videos. The budget of my projects don't allow storage space of multiple TB each.
So I was thinking about storing rendered videos, so that we can at least make slight changes afterwards in editing or export diffrent formats.

What would be the best codec to use to export the video? With a good compromise of quality vs space. I would say no more than 50mb/s.

I am using Windows.

**Tags:** workflow, raw

> **Comments:**
> **username_1**: If you edit in Resolve, you can use Resolve's Media Management for the whole project, transcode all, or only used media; with, or without handles.  Roundtripping from PP is fraught with peril.  It's often necessary when you're working with other people who use Adobe products, but the only good reason to do it when you're the editor and colorist is to prepare yourself for the pitfalls of roundtripping for paying clients.  Otherwise, it's an exercise in masochism.  Try it with multichannel audio for a real treat ;-)  

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## 1 answers

### Answer by username_2 on 2019-04-05. Score: 1

If your system has external SAS, you can either buy an older LTO Tape Drive System, such as an LTO-5, or rent one. Or go for an LTO-6 or 7 drive.

Linear tape really is the best choice for a number of production environments which is why so many post houses have adopted it for footage back up.

The tapes have large capacity, are enterprise secure, have built in fault tolerance, are fairly easy to use, and it's the CHEAPEST way to archive.

An LTO-6 Tape will hold 2.5TB uncompressed content (raw video), will write at speeds of roughly 140mb/s and the tape will cost you about $20.

A 2TB HDD Bare Spinning Drive is far most costly than that and will not run/be locked/greased up if you try to use it 50 years from now.

They are archival for 30-50 years.

It's what the National Archives uses.

> **Comments:**
> **username_0**: Thank you for the answer. But that's not quite what I am looking for. I want to store on normal HDDs. Regardless of the storage type, my main question is WHAT CODEC I should use to archive the footage. As I allready colour graded the video, I won't need the full flexibility of raw  
> **username_1**: "Archive" implies long-term viability.  Storing the camera original to LTO is the best practice for that goal.  Future technologies only improve the interpretation of RAW footage (BMD's gen5 color science, e.g.).  If you compress it, you're shooting yourself in the foot.  If you store it to HDDs, their failure is imminent.  Besides, BRAW is a *compressed* RAW codec in the first place, and doesn't take much more space than ProRes, but adds considerable flexibility and performance.  

---

