Data Management Systems

Here is how this works in practice. On-set data running for Australian productions hinges on the Codex Capture Drive and ARRIRAW workflow that Disney Studios Australia, Village Roadshow Studios Gold Coast, and Docklands Studios Melbourne all standardise around. Our DIT carts run Pomfort Silverstack — the Munich-built clone-verify-report tool that Cameraquip, Lemac, and Panavision Australia all train on — paired with Codex Vault for high-volume features and DaVinci Resolve Studio for on-set dailies grading.

Here is the short of it. DaVinci Resolve itself is Auckland-born Black Magic Design software with deep Australian engineering roots, so support and updates land same-day across our Sydney, Melbourne, Brisbane, and Perth DIT carts. Camera formats covered include ARRI Alexa 35 / LF / Mini LF / ALEXA 65, Sony VENICE 2 + FX9 + FX3, RED V-Raptor + Komodo, Phantom Flex 4K, and the locally-built Blackmagic URSA range.

Here is the breakdown. Archive and chain-of-custody follow Privacy Act 1988 obligations. The Notifiable Data Breaches scheme administered by the OAIC — specific relevant for productions handling Indigenous cultural footage from Uluru, Kakadu, or Arnhem Land that needs custodian sign-off before any copy leaves country.

Here is what that looks like on the ground. LTO-9 tape archive runs on every feature, with offsite mirrors held in AWS Sydney Region (online since 2012) or the newer AWS Melbourne Region opened in 2023; Azure Australia East and Google Cloud Sydney also offer regional persistence for productions whose insurers need multi-cloud redundancy.

Here is how the picture comes together. Cross-border post handoff to LA uses Aspera over the 14-hour Pacific time-diff window — Sydney wraps at 1900 AEST, files arrive in Burbank by 0200 PST, ready for edit pickup the same morning. NZ post houses in Wellington and Auckland sit three hours' freight away for physical drive ferries.