650 GB per hour
A two-hour Titan day generates 1.3 terabytes of original footage — around four terabytes once our three copies exist. Storage and offload time are planned into the schedule before the first setup.
A single take on an Insta360 Titan is spread across nine memory cards and produces 650 gigabytes an hour. This is how we make sure every frame of it survives the journey from your set to your edit.
On a conventional camera, one card holds complete, watchable shots. On a professional 360° rig, a single take is fragmented across nine cards — and eight of them are meaningless without the ninth.
That is the defining hazard of the format, and it is why we never treat a 360° offload as a file copy. Each card is ingested into its own separately named, independently verified destination. The files are only ever combined afterwards, deliberately, as a derived working copy — built from material we have already proven is intact. The originals are never touched again.
A two-hour Titan day generates 1.3 terabytes of original footage — around four terabytes once our three copies exist. Storage and offload time are planned into the schedule before the first setup.
360° footage has to be stitched before anyone can properly view it. A problem that isn't caught on set can stay invisible for weeks — which is why our checks happen at the cart, not in post.
There is no "outside the shot." Crew, stands, cables, the rig's own shadow and the tripod beneath it are all recorded. Managing that is part of the capture discipline, not a post cleanup.
All nine cards ingest simultaneously through a single Thunderbolt reader stack. The data is read once and written to three destinations in parallel — one third the wear on your media, one third the time.
A standard file copy writes the data and reports success without ever reading it back. A failing card, a marginal cable or a hot reader can deliver corrupted bytes and the operating system will confirm the transfer completed.
Each roll ships with an ASC Media Hash List — the chain-of-custody standard developed by the American Society of Cinematographers and specified by name in the delivery requirements of the major streaming platforms.
It records a fingerprint for every file, the structure of every folder, and a chain linking each generation of copy. That means it detects files that were removed as well as files that changed, and if damage ever occurs downstream, it identifies precisely where in the chain it happened. Your post house can verify everything we hand over without ever needing to call us.
The backup discipline specified by the major platforms' data-management requirements — applied on every production, not only the ones that ask for it.
The card is read a second time and compared. It is the only way to catch media that is degrading before it goes back into rotation and quietly damages the next shoot.
Verification proves a copy matches the card. It does not prove the camera recorded a complete take. That check is separate, it happens before anything is cleared, and it is the difference between a reshoot and a write-off.
A complete take has an exact, known file count across all nine cards. Long takes segment, and every lens must show the same number of segments. Anything short is investigated immediately.
Recorded data is compared lens to lens. An outlier means that card stopped early — the single most common way a 360° take is quietly lost.
The camera's own preview is scrubbed to confirm the whole sphere exists, and the eight per-lens views are compared for exposure, colour and cleanliness. One smudged lens spoils an entire region of every shot from that setup.
Nearest-subject distance is measured and logged on every setup. A subject too close to the rig, sitting on a seam between two lenses, can be impossible to assemble cleanly — a problem solved by moving the camera, never by software.
Every setup includes a nadir plate and a clean, action-free pass shot from the identical camera position — the material post needs to remove the tripod and correct lighting. It takes thirty seconds on set and saves hours downstream. It is never skipped, and it is never something your post team has to ask us for.
Formatting is the only irreversible act in the entire process. Everything else can be redone. So it happens last, deliberately, and only when all six of these are true.
This is also why we carry enough media for two full shooting days without formatting. Spare cards are what make every other rule possible — without them, someone eventually clears media under time pressure, and that is precisely when footage is lost.
Insta360 Titan — eight-lens stereoscopic capture to nine cards, up to 11K. Insta360 Pro 2 — six-lens stereoscopic capture across seven cards. Insta360 X6 for compact and rigged work. Each has a different card architecture and a different set of failure modes, and each has its own procedure written against it.
Every product, part number and current price behind this workflow — readers, docks, drives, cards, software and archive, with two complete builds and an interactive kit builder. Written as an open resource for anyone running these cameras.
Happy to talk through data handling, storage planning and post handover before you lock a schedule — it is considerably cheaper to solve on paper than on the day.
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