Beyond camera cards: RED Connect + iodyne Pro Data

Production teams are increasingly looking for ways to eliminate friction between departments, reduce operational overhead, and make media immediately available wherever creative decisions are being made.

As cameras have evolved and resolutions have increased, the linear process of shoot, offload, verify, copy, then post has become increasingly difficult to sustain. Multi-camera productions, virtual production stages, live events, and high-end cinema workflows can generate terabytes of footage in a matter of hours, creating a growing disconnect between how quickly media is captured and how quickly creative teams can begin working with it.

At Cine Gear Expo 2026, iodyne partnered with RED Digital Cinema and Cintegral Technologies to showcase a different approach.

Through a series of demonstrations built around RED Connect, RED Cine-Broadcast, Taara Lightbridge, and iodyne Pro Data, attendees saw how media can move directly from acquisition into editorial, color, and delivery workflows.

The result is a new model for production infrastructure: one in which live broadcast feeds and camera-original RAW media can simultaneously flow into the same high-performance storage environment. For live events, this enables faster clip creation, editing, and content delivery while the show is still happening. For film and television workflows, the same architecture removes redundant media transfer steps and allows teams to move from capture to post without bottlenecks.

One of the most common sources of delay in modern productions is the time spent moving data.

As Johnnie Behiri from CineD observed, “the ingest step is dead time.”

Camera cards filled, copied, verified, duplicated, and eventually handed off to editorial teams add up to many hours of media management before any creative work can begin.

Pairing RED Connect with iodyne Pro Data eliminates that delay.

Footage is captured directly into protected, production-ready storage, where it can immediately be accessed by editors, colorists, producers, and technical teams. The moment media is created, it is already part of the workflow.

At Cine Gear Expo, the first demonstration paired RED Connect, RED Cine Broadcast, and iodyne Pro Data in a fully cardless acquisition workflow.

Using a RED RAPTOR XL [X] through the RED Cine-Broadcast module and a KOMODO-X over USB-C, RED R3D RAW footage was streamed directly from both cameras into iodyne Pro Data. Instead of recording to removable media and waiting for footage to be transferred after the shoot, the camera became directly connected to the production workflow.

Media was simultaneously captured, protected through RAID-6, secured with AES-XTS-256 encryption, and made available to downstream teams in real time.

The implications are significant.

The same storage platform supporting acquisition can immediately support dailies creation, editorial review, color evaluation, and delivery preparation. Production and post-production begin operating from a shared source of truth rather than a sequence of disconnected storage systems.

As productions continue to compress schedules and increase shooting ratios, removing hours of ingest and media management creates opportunities to move editorial decisions earlier in the process.

A second demonstration, developed with Cintegral Technologies, explored what happens when the same workflow principles are applied across large production environments.

The setup combined Taara Lightbridge “Fiber-over-Air” technology with iodyne Pro Data to create a high-speed private production network capable of transporting both full-quality 8K RED R3D RAW media and lightweight JPEG-XS streams simultaneously.

Using optical wireless transmission, footage from RED’s DSMC3 cameras, including RED RAPTOR XL [X] can be delivered directly to iodyne Pro Data through a Mac Studio, which serves as the central ingest and workflow hub.

The demonstration showed how multiple cameras distributed across a venue could feed a centralized Pro Data system, creating an immediate production network that enables ingest, review, editing, packaging, and delivery workflows without relying on traditional network infrastructure.

For live events, music festivals, sports venues, conference centers, and remote production environments, this creates new possibilities for real-time content creation.

Editors can begin working while the event is still underway. Producers can review footage almost immediately. Broadcast teams can move content into delivery workflows without waiting for camera media to physically arrive.

The result is a workflow that combines cinema-quality acquisition with the responsiveness traditionally expected from broadcast environments.

Cinema productions prioritize image quality, high-resolution acquisition, and creative flexibility. Broadcast and live production environments prioritize speed, immediacy, and the delivery of content to editors as quickly as possible.

Increasingly, productions need both.

Music festivals, live sports, conferences, houses of worship, virtual production stages, and remote productions are adopting cinema cameras to achieve higher production values while maintaining the fast turnaround requirements traditionally associated with broadcast.

The challenge is no longer capturing cinematic images.

The challenge is moving those images through production quickly enough to support live and near-live delivery.

The workflows demonstrated at Cine Gear showed how two worlds that have traditionally operated very differently are now converging.

Perhaps the most compelling aspect of these demonstrations is what happens after production wraps.

Traditionally, footage moves through multiple storage systems before reaching its final destination. Camera media is copied to shuttle drives. Shuttle drives are copied to production storage. Production storage is copied to editorial storage. Editorial storage eventually moves to the archive.

Each transfer introduces additional time, complexity, and risk.

A more streamlined alternative is possible.

Whether footage arrives via RED Connect, optical wireless transmission, or traditional acquisition methods, the same Pro Data system can continue to support editorial, color, VFX, finishing, and delivery workflows long after cameras stop rolling.

The same storage unit used for ingest can continue to support the project by enabling real-time rendering and playback of robust RED R3D RAW footage.

Rather than repeatedly migrating media between systems, teams maintain a single source of truth with built-in RAID-6 redundancy throughout the project cycle.

Historically, storage has been viewed as a capacity holder on a shelf space—a place where media lives until someone needs it.

Today’s workflows demand something different.

As Jake Bourkey at ProVideo Coalition noted during its Cine Gear coverage, iodyne is helping “blur the line between direct-attached speed and facility-grade collaboration.”

That distinction matters because modern productions require both.

Teams need the simplicity and performance of local storage, but they also need the protection, resilience, and multi-user capabilities traditionally associated with larger shared storage environments.

With sustained throughput exceeding 5 GB/s, integrated RAID-6 protection, AES-XTS-256 encryption, and support for multiple simultaneous users, Pro Data allows production teams to work directly from primary production storage without sacrificing performance or security.

Storage now becomes the platform through which the workflow itself operates.

The demonstrations at Cine Gear Expo represented a broad shift taking place across the industry.

Whether through RED Connect, RED Cine-Broadcast, Taara Lightbridge, or iodyne Pro Data, the goal is ultimately the same: to remove the barriers between acquisition, editorial, color, and delivery.

As productions continue to generate larger datasets and tighter delivery schedules, the key innovation may not be creating data faster. It may be eliminating the time spent waiting for it.

Capture once. Protect automatically. Start creating immediately.