FUTURE WORKFLOWS
POST
can’t do in a brick and mortar facility. But you can only really start to connect all the people together once it’s all in the cloud.
A lot of people don’t understand AI and how it works and its current limitations. But where I believe it can be incredibly valuable is in augmenting your abilities. I used to work with stressed DoPs and you’d only have 30 seconds of their time. So, you’d give them three looks. With AI, if they like one you can quickly help give them three more in the same area. It’s not replacing me, but it will allow you to be more consistent and augment our capability.
NELSON: I think you’re onto something. I was looking at this image tool last week that came that had been in development for ages. Someone was asking for a blue apple and a bowl of green
pears. And then it presented five different versions and then you go ‘okay, I like that one’. And then it presented three more. It doesn’t give you your final result, but it gets you to somewhere closer.
Is a decentralised workforce always desirable?
KLAFKOWSKI: Unless the project demands it, editors will want to work from home.
NICHOLSON: From an editor’s perspective, they definitely want to work at home. If the director’s not there, they don’t want to be in. They’ve had a taste of this work/life balance and they don’t want to go back. But how are we supposed to
train the editors of the future if they can’t sit in a room with an experienced operator.
Sound is totally different. People working on the high-end projects want to be back on prem, only so much can be done from home.
MITCHELL: Audio is a significant challenge. Because when you have a client listening, you have no control over the environment listening, because it’s not just the speakers or headphones. You could sit there and be arguing till the cows come home and be listening to two different things.
WILKES: There are some projects that we’ve been looking after for years, where all the offline was in house and on premise. And then lock down happened, and all the editors just went home. And we’ll never go back to the old way again. It is just so much nicer. It still relies on the tech support being as good. And it still relies on the media management being accurate. And it relies on the finishing being as good. So even though it’s remote no-one should feel remote.
Winning a new client and getting them in, while not actually physically being there is very weird. It’s quite strange. They just believe you deliver. Sometimes the first interaction they get is when a file is sent to them.
Clarkson’s Farm, Full post production, Racoon | Expectation Entertainment for Amazon Prime
WOOLFSON: The reality is that if Covid has taught me anything it’s that, yes we are technically capable of providing a really good remote option, but that human beings still want to collaborate in a single location.
MALTBY: A lot of us are probably quite capable of switching off at the end of the day. The younger generation might feel that they can’t switch off because they haven’t finished.
NICHOLSON: I think we want to move to a position where people are able to work the way they want to work. We live in an industry where people burn out and anything that we can do to retain talent and improve people’s lives is desirable.
The Northman, 35mm Processing and scan, Cinelab London | Universal Pictures
Demo footage shot on 65mm and scanned at 12K on an OXSCAN to 4K at Cinelab London
Summer 2022
televisual.com 109
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122
