post production feature
technical expertise and early adoption - including a European short film project that needed stereoscopic 3D material in order to raise the finance to make a full-length version of the story - and have a couple of 3D film projects about to be greenlit. However, the vast majority of 3D DI is happening in LA at the moment; there are a few exceptions but generally speaking European films don’t have those large budgets and they tend to be more character- driven projects than big blockbusters that would merit the 3D treatment. And in terms of 3D DI for broadcast, there is even less right now. Still, we are ready if and when it comes. Whether 3D, HD or SD, it also helps productions to have a ‘one stop shop’ for post. Something we championed a long time ago was interoperability between all departments to allow more time for the post process, as opposed to transporting drives/tapes around Soho. We are a completely file-based facility (excepting delivery
requirements, of which more later) and have developed a network across our two buildings - situated at opposite ends of Wardour Street, Soho - so that any material can be accessed in any department. Thus, for instance, producers working in the audio suites can view material from the VFX team. More than this, it’s easier and more cost-effective to juggle work and timetables within a single facility, so that if more time is needed on one element, other teams can work on other sections. While the industry is moving to file- based workflows, tapes are still very much a requirement for delivery. However, the aftermath of the Japanese earthquake is having a very real effect on the broadcast sector, with the predicted tape shortage now a grim reality in Soho. The BBC is now accepting file-based delivery on drives for certain projects, and we foresee this happening at other broadcasters very quickly - so by necessity the industry seems to be
United, the recent BBC dramatisation of the tragic
Munich Air Crash of 1958. Several elements were built while the shoot was going on to save time, and many were re-used in more scenes than originally planned which added value both to the story and the budget. Most notably LipSync built a fully CG aeroplane exterior which was used in scenes both before and after the crash, and a faithful reproduction of Old Trafford stadium as it looked in 1958, which was used in several shots under different lighting and weather conditions.
converting to tapeless rather quicker than planned. Beyond that, it’s hard to predict
what is next for post production. We’ll be looking at near line storage systems and the latest render solutions at IBC and it will be interesting to see whether there are yet any affordable replacements for our original Sony HD monitors. In the current climate though,
perhaps the best we can do is to continue to offer great service and great value, and be flexible and ready for anything. Producers and broadcasters will continue to want top quality content, and with greater and earlier collaboration we can help them to realise their visions, within realistic budgets. We will be monitoring the 3D buzz for broadcast but time will tell whether consumers will be persuaded in great enough numbers to purchase their sets and glasses - or whether broadcasters will need to invest first in making larger quantities of quality 3D content. Chickens and eggs, anyone?
www.ibeweb.com l september/october 2011 l ibe l 23
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