I personally like to get a 1 TB drive per client/project and then, when that project is done, or awaiting approval, I pull it out of the dock and put it on the shelf to work on other projects. The advantage of putting the drive in a case, aside from the protection, is that I can put some very big labels with lots of notes about what’s on the drive, which is usually a lot of stuff.
It is interesting to read about push back from studios and even producers where cost is concerned- and film is reconsidered instead of digital.
Some of the thoughts are true, you need a digital imaging technician to do it right, you need a media wrangler, but weren’t those positions already there on film crews (DP, loader, respectively)? Using less film reduces cost, but it also reduces quality- at a time when digital is improving quality with every codec revision.
Film may still record more latitude, but HDR still cameras are already here so HDR video can’t be far behind. Those few advantages film has are slowly being whittled away, while the advantages digital offers keep increasing. The only one Film may keep, in the end, is as an archival medium, having already demonstrated, in some cases, 100-year stability.
The proverbial “between a rock and a hard place” is basically a tough place to be.
I was corresponding with a fellow videographer who works for a government video department. He tried to explain the troubles he faces with regard to new gear purchases. It’s beyond trying to decide between P2 or SxS. It’s beyond tape or flash media. It’s, well, let’s just say it basically covers the last 20 years of video production- every single day.