iodyne Brings Cardless RED RAW Ingest and Adobe Color Mode Workflows to Cine Gear 2026

Storage Media

by Johnnie BehiriJune 5^th, 2026

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At Cinegear Expo 2026, iodyne is teaming up with RED Digital Cinema and Adobe to show how production teams can skip camera cards entirely. The centerpiece is a live DIT cart that records RED R3D RAW media straight from V-RAPTOR XL X and KOMODO-X bodies to encrypted, RAID-6 protected iodyne Pro Data storage, paired with a separate demonstration of Adobe Premiere’s new Color Mode for real-time RAW grading.

The pitch is a familiar one for anyone who has run a media cart on a multi-camera job: the ingest step is dead time. iodyne, which built its reputation on the Pro Data Thunderbolt RAID and, more recently, the pocket-sized Pro Mini Smart Drive, is using the Cine Gear Expo to argue that the offload bottleneck can be removed from the workflow rather than merely accelerated. The demonstrations run across two events, the main show floor at the Universal Studios Lot and a separate Adobe-focused evening, and they are framed around RED Connect on the capture side and Adobe Color Mode on the post side.

A DIT cart with no cards in it

The headline demo is a live multi-cam ingest rig built around RED Connect, the licensed feature that lets V-RAPTOR and V-RAPTOR XL cameras stream full-resolution R3D over IP rather than writing to internal media. We covered the RED Connect Module Pack when RED first introduced it for 8K 120p live cinematic streaming, and the V-RAPTOR firmware that originally added RED Connect in beta. The iodyne setup takes that same stream and lands it directly on storage instead of a switcher or encoder.

iodyne’s cart configuration uses two cameras as the demonstration backbone: a V-RAPTOR XL X connected through the Cine-Broadcast Module, and a KOMODO-X running RED Connect over 10GbE. Both feed a Mac Studio Ultra host, which writes to a 24TB iodyne Pro Data over iodyne’s Purple Pro cables. The result, according to the company, is RED RAW recorded in real time to an encrypted, RAID-6 protected volume, with no manual offload step at wrap and immediate access for grading and editorial.

The connection topology in iodyne’s workflow documentation scales beyond the two-camera demo. Each pair of cameras runs through a SonnetTech Twin 10G SFP28 PCIe card housed in a SonnetTech Echo Express SE I chassis, multi-pathed over Thunderbolt into the Mac Studio, with a main and a backup Pro Data on the storage side. Note that the KOMODO-X is supported via a USB-C to 2.5Gb adapter, while the V-RAPTOR and V-RAPTOR XL connect through the dedicated RED Connect Module.

How much footage actually lands on the drive

The numbers iodyne publishes give a sense of the data rates involved. In the company’s stated stream-count figures for RED Connect at MQ compression, a single 24TB Pro Data sustains up to 8 simultaneous 8K 16:9 feeds at 24fps, 14 streams at 6K, or roughly 30 streams at 4K UHD. At 8K 24fps MQ, iodyne quotes per-stream data rates around 292 MB/s, climbing to 365 MB/s at 30fps and 731 MB/s at 60fps. Those are the company’s own figures, and real-world sustained counts will depend on the specific compression and frame-rate mix on set.

iodyne frames the time saving around a worked example: a four-camera 8K 24fps MQ shoot running six hours. In the traditional card-based version of that job, the company describes swapping 1TB cards roughly every 80 minutes and spending four or more hours ingesting 24TB afterward. With RED Connect feeding Pro Data, the footage streams directly to the encrypted volume during the shoot, and the final offload to centralized or cloud storage runs at up to 5.4GB/s read speeds. iodyne cites offload times of roughly 40 minutes for a full 12TB, 80 minutes for 24TB, and 160 minutes for 48TB.

Why the edge-recording angle matters

The practical argument here is about where post begins. By recording original camera files directly to a single encrypted device, the workflow collapses the gap between capture and editorial: the same Pro Data that recorded the shoot can be handed straight to a cutting room or VFX vendor without a separate transfer and verification pass. iodyne points to multi-camera productions, live events, and virtual production stages as the environments where ingest dead time is most costly, and where always-on AES 256-bit encryption is most likely to be a hard requirement rather than a nice-to-have.

For sustained-performance claims, iodyne is leaning on the same Pro Data characteristics it has marketed for editorial use, including sustained 5.4GB/s reads and 2.4GB/s writes, support for up to four host systems simultaneously, and the ability to grade RAW footage without generating proxies. The drive’s compatibility list spans the usual professional ecosystem, including Adobe, DaVinci Resolve, Avid, Final Cut Pro, RED, and ARRI.

Adobe Color Mode joins the demo

The second strand of iodyne’s Cine Gear presence moves downstream to color. iodyne is showing Pro Data paired with Adobe’s new Color Mode at the Adobe Color After Dark Expo on June 5. Color Mode, which Adobe introduced in public beta at NAB 2026, is a dedicated grading workspace built inside Premiere rather than a Lumetri update, operating in 32-bit color depth and organized around a Color monitor, a Clip Grid for fast shot navigation, and a Color Controls panel. The point iodyne is making is a storage one: real-time RAW grading and multi-project editorial both depend on a volume that can sustain its throughput for the length of the job, not just for a benchmark burst.

iodyne’s stated focus areas for the Adobe demonstrations are real-time RAW grading, multi-project editorial workflows, edge and on-set post challenges, and end-to-end pipelines from capture through delivery.

Context within iodyne’s lineup

This is a workflow story rather than a product launch, and it builds directly on hardware we have already covered. The Pro Mini Smart Drive, which iodyne first showed at IBC and which started shipping at NAB 2026 in 4TB and 8TB capacities, brought the company’s Smart Drive architecture, digital label, passkey unlock, and RAID-6 into a pocket form factor. The Cine Gear demonstrations extend the same security and reliability story to the larger Pro Data and to the on-set capture stage, positioning iodyne across the full path from camera to grade.

iodyne will appear at the RED booth, Booth 33 on the Universal Studios Lot, during Cine Gear Expo on June 5 and 6, 2026. The Adobe Color After Dark Expo runs on the evening of June 5 at Key Code Media in Burbank. More information on Pro Data and the RED Connect workflow is available on iodyne’s website and at red.com/red-connect.

Does cardless RAW ingest change how you would build your next multi-cam cart, or do you still want physical media as a fallback? Don’t hesitate to let us know in the comments below!