If this whole team's got the Cloud Stores and everyone's editing off proxies, that's fine.

But let's just say Giacomo was going to do some color on it and needs the raw.

Like let's just say it's a show with, you know, six days of shooting and he just wants to color like one of the days of issues like too much media for his eight terabyte right.

Can you control the amount of proxies so he's he's not trying to download to like the whole show, like all the originals?

Yeah.

So once you get to that point, you can media manage a timeline or a project and sync that separately so you can take something that's 82 terabytes down to something much smaller.

So if I go to file media management, I can go to timelines and then I can select whatever the hero timeline is.

And then under this option here, I can basically copy all the used media or I can copy all the used media, but trim it, keeping just a certain frame handles.

And this will actually trim, you know, whether it's a red, a B raw file in a lossless manner and put that into a separate directory, which you define right up here.

So that's a really good way to set up a data set or a colorist to work on that smaller than the full thing or even for archive purposes.

You know, you can to make a a smaller archival version of this entire project.

You can restore later on without having to restore all the original camera cases.

It's nice because like on most of the shows we have these eight terabyte, right?

So you got eight terabytes to work with where we are, but there's other what's the next size is eight, then it's 20, and then 80 and then like 320.

That's right.

So you could end up you could just you could live colorist could live off of an eight terabyte if they needed to, if they're working remotely, they don't need to have a big babysitting on their desk.

Right, Right.

Yeah.

And I don't know any other analogy that allows you to truncate like a raw camera file either.

I think Resolve might be the only one that does that usually when you want to take a whole piece of camera original and truncated down to like a certain section that's used in a timeline.

I think that every only has you transcode it to some other medium, whether it's processor dynamics.

I don't think there was any other only that has this option where you can truncate an actual Rafael and then use that Rafael as a media managed project.

What you've learned in the short amount of time, what what do you feel like the biggest hurdles are for you?

It's like funny.

On Hulu, we had Avid editors that just were hard core, Avid.

They loved Avid, they love their hardware, and so it was like the mindset of trying something new.

What what do you see that you like or what do you see that you the hurdles for you that you need to get over?