Will you run
out of cards?
Pick your codec, resolution and record time. We'll size the total media and tell you how many cards or drives to pack. Covers H.264, H.265, ProRes, DNxHR and RAW.
What eats the storage
File size is just bitrate × time. Three things set the bitrate: the codec, the resolution and the frame rate. Once those are fixed, the math is fixed.
The biggest lever. H.265 holds the same quality in about half the space of H.264; ProRes is much larger but edits instantly; RAW is largest of all. Pick for the workflow, not just the size.
Storage scales with pixel count. 4K is four times the data of 1080p; 6K and 8K climb fast. Shooting higher than you'll deliver buys reframing room, at a real media cost.
Double the frame rate, double the data. Then multiply by every camera rolling all day. A 12-camera show records twelve media streams at once, which is where budgets surprise people.
Figures are conservative estimates from each codec's typical data rate; real sizes vary with scene complexity, variable-bitrate encoding and container overhead. Always pack spare media, and plan offload and backup time, not just capacity.
Storage, answered
What is a proxy file?
A proxy is a small, lightweight copy of your footage (same shot, much lower bitrate) that edits smoothly on any laptop. You cut with the proxies, then relink to the full-quality originals for the final render. ProRes 422 Proxy is the go-to: a fraction of the size of the camera master, so editors can start fast while the big files stay safe on the shelf.
How do I calculate video file size?
Size (GB) = bitrate (Mbps) × seconds ÷ 8 ÷ 1000. A 220 Mbps ProRes stream for an hour is 220 × 3600 ÷ 8 ÷ 1000 ≈ 99 GB.
H.264 vs H.265 file size?
H.265 (HEVC) is roughly twice as efficient, so it stores the same quality in about half the space, at the cost of heavier encoding and decoding. Both are delivery codecs, not edit-friendly intermediates like ProRes.
How big are ProRes files?
At 1080p30, ProRes 422 ≈ 66 GB/hr, 422 HQ ≈ 99 GB/hr, 4444 ≈ 148 GB/hr. Multiply ~4× for 4K and ~2× for 60fps. It's large because it's lightly compressed for fast, reliable editing.
How many cards do I need?
Divide one camera's storage by your card size, round up, add headroom so no card fills mid-take, then multiply by your camera count. Always carry spares, running out on a live event isn't recoverable.
Should I record RAW for an event?
Usually no. RAW gives grading latitude but multiplies storage, offload and cost. For most corporate events ProRes or H.265 is broadcast-quality with far less media. RAW suits high-end branded films where post flexibility earns its keep.
Need the media handled, from capture to offload, backup and delivery?
Need someone to run the cameras,
and everything around them?
Multi-camera capture, switching, audio, lighting, a clean stream and a managed media workflow. For conferences, keynotes, all-hands and broadcasts, not weddings or home video. Tell us about your event and we'll scope it, quote it line-by-line, and run it.
Think of these numbers as a solid starting point, not a guarantee. They're good-faith estimates from each codec's typical data rate. Real files shift a little with variable-bitrate encoding, scene complexity, audio and container overhead, and in-camera options, so always test your actual recording chain, carry spare media, and double-check capacity before you roll. Questions on a specific setup? We're happy to help. That's our job.