RED & Camera to Cloud
October 18th, 2022

Today, at Adobe MAX, the team announced the next leap forward in connecting cameras to the cloud. Part of that advancement is a partnership with RED on camera to cloud integration built directly into the V-RAPTOR and V-RAPTOR XL systems. This unlocks the ability to upload 8K RAW files directly from camera to cloud for immediate creative collaboration.

Camera to cloud with RED V-RAPTOR and V-RAPTOR XL unlocks the biggest workflow improvement in more than a decade and begins to remove the delays created by shipping drives that every creative team has become accustomed to. In addition, productions that shoot on stages can deliver original camera files (OCF) directly to the post house as they’re being shot, and virtual productions or complex visual effects can send OCF directly to the VFX house. ProRes files can also be automatically delivered right to production offices and cutting rooms for immediate editing. And for productions that want the highest quality dailies, RAW video and audio files can be synced, color corrected, and transcoded in the cloud through’s integration with Colorfront.

Another significant and immediate benefit about this integration is that it enables a native ProRes proxy workflow that contains every ounce of asset metadata available in the camera. This provides many of the same benefits of an OCF-to-cloud workflow, but requiring less network and processing infrastructure. ProRes files are supported for playback on, so these high-quality files are available to view, share, and edit without requiring additional transcoding. This means you’ll be able to shoot up to 8K RAW on the V-RAPTOR or V-RAPTOR XL with a frame-accurate ProRes proxy and upload the 8K RAW, the proxy (or both) as fast as your internet allows. And on top of that, it accurately captures off-speed recordings.

Check out the video demo to learn more about how easy it is to securely authenticate the camera to, and how quickly the team was able to send the first-ever automatic transmission of an 8K RAW R3D file, a log file, a CDL, a ProRes proxy file, a WAV, and a custom LUT—all associated with each take.