Wilderhood TV — Camera Roles & Field SOP (R5C • R6 • R50V • R7)
Production ➡ delivery SOP (4K Documentary Standard) to meet global streaming platform standards (Netflix / Prime Video / Hotstar and more)
Equipment note: Canon R5C is the primary A-camera. We are trialing a Canon R6 as the B-camera for complementary coverage; the Canon R50V will be used only for locked tripod shots, timelapses and limited atmospheric B-roll due to its capture/frame-rate constraints versus the R5C. (updated on 3rd Feb 2026)1
Purpose
This SOP prioritizes image integrity, data security, and audit defensibility over camera brand or model, ensuring compliance with global broadcaster technical expectations.
Ensure all Wilderhood TV productions meet global streaming platform standards (Netflix / Prime Video / Hotstar and more) while remaining practical for Indian wildlife field conditions.
1. PROJECT CLASSIFICATION
Every project must be tagged before shooting:
Tier A: Platform Pitch / Global Streamer Target
Tier B: Regional Streamer / OTT
Tier C: Digital / Festival / YouTube
👉 This SOP applies fully to Tier A and Tier B projects.
2. CAMERA HIERARCHY (MANDATORY)
Camera Roles
A-Camera (Primary Capture): Canon R5C or approved cinema-capable camera meeting Tier A requirements
B-Camera (Secondary / Support): Canon R6 and/or R50 V
Runtime Rule
≥ 90% of final runtime → A-Camera (applies to narrative-critical runtime, not total clip count)
≤ 10% of final runtime → B-Camera
B-Camera Allowed Usage
✔ Static second angle
✔ Landscape / habitat B-roll
✔ Atmospheric cutaways
✔ Time-lapse / locked tripod shots
B-Camera NOT Allowed
✖ Interviews
✖ Primary wildlife behavior
✖ Night / extreme low-light scenes
✖ Handheld narrative sequences
3. CAPTURE SETTINGS (LOCK THESE)
A-Camera (R5C)
Resolution: 4K UHD / DCI
Codec: Cinema RAW Light LT or XF-AVC Intra
Bit Depth: 10-bit or higher
Gamma: Canon Log 3
Frame Rate: ~24p
White Balance: Manual Kelvin (Daylight baseline 5600K; adjust for dawn/dusk or forest canopy as required—never Auto)
B-Camera (R6/R50 V)
Resolution: 4K UHD
Codec: XF-AVC S 4:2:2 10-bit (highest bitrate)
Gamma: Canon Log 3
Frame Rate: Match A-Camera exactly
Profile consistency is mandatory
4. ON-SET DISCIPLINE
Daily Checklist
Manual white balance synced across cameras
Identical frame rate & shutter logic
Shot log maintained (A / B camera clearly marked)
Audio captured on external recorders only
Dual backups at end of day
Data Handling
3–2–1 rule minimum:
3 copies
2 different media
1 off-site
In wildlife filmmaking, you don’t get second takes.
Platforms and insurers care less about what camera you used and more about whether your footage is safe, traceable, and verifiable.
Data handling failures = lost footage = project risk.
The 3–2–1 Rule (Non-Negotiable)
Every shooting day must end with:
3 Copies of All Footage
Primary Working Drive
Local Backup Drive
Off-site Backup (or delayed off-site)
2 Different Storage Media
Example:
SSD (working)
HDD (backup)
1 Copy Off-site
Cloud (when bandwidth allows), or
Physically stored in a different location (hotel room vs vehicle)
If one thing fails, two others still exist.
On-Set Ingest Workflow (Step-by-Step)
Step 1: Card Offload (Never Rush This)
Use verified copy software:
Hedge
ShotPut Pro
DaVinci Resolve Clone Tool (✅ for WilderhoodTV production)
NEVER drag-and-drop for camera masters.
✔ Enable checksum verification
✔ Copy to two drives simultaneously
Step 2: Folder Structure (Standardized)
Use this exact structure on all drives:
Wilderhood_ProjectName/
├── Day_01/
│ ├── A_CAM_R5C/
│ ├── B_CAM_R50V/
│ ├── AUDIO/
│ └── DRONE/
├── Day_02/
├── REPORTS/
└── EXPORTS/Why this matters:
Editors can relink instantly
Platforms understand your structure
Nothing gets “lost” in post
File Naming & Card Integrity
Camera Cards
Never format a card until:
✔ Two verified copies exist
✔ You’ve visually spot-checked footage
Keep Original Structure
Do not rename or move files inside camera folders
Maintain:
Clip IDs
Timecode
Metadata
This protects you during:
Technical audits
Legal disputes
Re-edits years later
Shot Logs & Metadata (Critical for Streamers)
Daily Shot Log (Simple but Mandatory)
For each clip, log:
Date
Camera (A / B)
Location
Description
Notes (behavior, light, issues)
Example:
Day01 | R5C | Sattal | Monal behavior shot | Low light, clean
Day01 | R6 | Sattal | Wide habitat shot | Static tripod
Day01 | R50V | Sattal | Time lapses. | Static tripodWhy this helps:
Editors find shots fast
A-cam dominance
Backup Timing Rules
End of Each Shooting Day
Two verified copies before sleep
One copy stays with DIT / Director
One copy stays separate (vehicle / hotel)
End of Each Location
One full backup travels separately from crew
If possible:
Ship a drive home
Upload proxies to cloud
Drive Labelling & Tracking
Label every drive clearly:
WH_MONAL_2026_MASTER_A
WH_MONAL_2026_BACKUP_B
WH_MONAL_2026_OFFSITE_CMaintain a simple spreadsheet:
Drive ID
Contents
Last verified date
Physical location
This becomes your chain-of-custody record.
Proxies & Cloud Safety (When Internet Is Poor)
Proxy Creation
Generate proxies:
1080p
ProRes Proxy / H.264
Upload proxies to:
Google Drive / Frame.io / Dropbox (building Parjanya 2.0 as alternative)
Even if originals are lost:
Edit decisions survive
Narrative is preserved
What NOT to Do (Common Mistakes)
❌ Single portable SSD only
❌ Formatting cards “to save time”
❌ Mixing days into one folder
❌ Renaming clips manually
❌ Trusting memory instead of logs
These mistakes kill films, not cameras.
Platform Confidence Statement (You Can Use This)
“All camera masters were ingested using checksum-verified transfers, maintained in original folder structures, and backed up following a 3–2–1 redundancy rule. Complete shot logs and metadata were maintained throughout production.”
That sentence alone signals professional discipline.
Reality Check (Field-Friendly Advice)
If conditions are extreme:
Prioritize:
Two verified copies
Separate physical locations
Off-site/cloud can happen later
Perfect is not required. Redundant is.
5. POST-PRODUCTION WORKFLOW
Editing
Timeline resolution: 4K
Color pipeline: ACES or DaVinci Color Managed
Offline: ProRes Proxy / DNxHR LB
Online: Full-resolution relink
Color Grading Rules
Grade A-cam first (reference look)
Match B-cam conservatively
No aggressive shadow lifting on B-cam
Naturalistic wildlife color bias (no stylized grades)
6. MASTER DELIVERABLES (CREATE ONCE)
Picture Master (Primary)
Codec: Apple ProRes 422 HQ
Resolution: 3840×2160
Frame Rate: 23.976p
Color: Rec.709 (Gamma 2.4)
No burned-in text
No sharpening / NR
Audio
Stereo Full Mix (24-bit / 48 kHz)
Music & Effects (M&E) stem
Optional 5.1 if produced
Additional Assets
Textless video master
Camera & lens report
Shooting locations list
Release forms
Final script / narration text
7. PLATFORM ADAPTATION (NO RE-EDITING)
From the same master:
Netflix: ProRes HQ + documentation
Prime Video: Same ProRes HQ master
Hotstar: ProRes HQ or platform-requested encode
⚠ Never deliver camera originals as final masters.
8. TECHNICAL JUSTIFICATION STATEMENT (STANDARD)
Use this wording when pitching or delivering:
“All primary narrative, wildlife behavior, interviews, and action sequences were captured on the Canon R5C. The Canon R50 V was used exclusively for static secondary angles and atmospheric B-roll.”
9. QUALITY CONTROL BEFORE DELIVERY
Before sending:
Check runtime A/B camera ratio
Verify no 8-bit clips slipped in
Confirm audio loudness standards
Watch entire film on calibrated display
Export checksum-verified masters
10. WHY THIS SOP WORKS
Future-proof for higher-tier commissions
Consistent look across projects
Scalable for small crews
Defensible in technical audits
Final Note (Founder-Level Guidance)
If Wilderhood TV follows this SOP consistently, you can:
Upgrade cameras later without changing workflow
Confidently pitch to global platforms
Build a recognizable visual and technical signature
This SOP reflects Wilderhood TV’s commitment to field-realistic excellence—balancing global broadcast expectations with the realities of wildlife filmmaking in India
Equipment and configurations evolve. This SOP (and equipment roles) were last updated Feb 3, 2026 and may be adjusted as field trials (e.g., R6 B-cam trial) produce new results.
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