Data Management Systems

Data work in Peru runs through a small but able DIT community based in Lima. Cinesphere DI, Tondero Post, Audiovisual Project Perú post and La Mecha Post anchor the local workflow. Their ARRIRAW, ProRes, RED R3D, Sony X-OCN, Blackmagic BRAW and Canon Cinema RAW pipelines match what feature shoots expect from São Paulo or Mexico City. Our rental team supplies DIT stations, RAID arrays and checked backup hardware, tuned to your camera package and post-prod specs.

Triple-redundant offload with checksum checks is a must on our jobs, and chain-of-custody records travel with each drive. Our DITs work directly with the camera department, post-prod and VFX teams to keep dailies on a same-day cadence, even on multi-camera shoots running 8-10TB per day. Ley 29733 (Peru's personal data protection law, GDPR-equivalent) is built into our handling for any production capturing identifiable footage.

The main challenge in Peru is geography. Camera originals shot at Machu Picchu, Sacred Valley or Choquequirao must get back to Lima for archive and post handoff. The standard workflow uses encrypted shuttle drives, moving by road from the valley to Cusco, then by air on the LATAM or Sky Airline morning service back to the capital. Two-stage backup checks happen at each transit point, and the third copy stays at the starting set until the capital confirms ingest.

Amazon shoots out of Puerto Maldonado follow the same model, with Iquitos or Lima as the endpoint. LTO tape archive happens at our capital site once camera negs are ingested. On-set grading and LUT work run through DaVinci Resolve workstations tied to your post-prod grade. Final delivery to your edit vendor carries detailed metadata, shot reports and retrieval records for long-term storage.