THE DEBATE HAS POST CHANGED FOREVER?


if I had to guess I would say some things will not go back to how they were.


ID, dock10 Clients have, to a large extent, fully embraced the significant changes to working practices. The positivity going forward is driven by providing flexible options on a job-by-job basis. Some projects will want to be ‘in facility’, whilst many will benefit from the flexibility to be either/or. This is not only driven by project type turnround, but primarily the individuals involved and their creative ambition too.


Mark Maltby, CTO, The Look Remote working offers a level of flexibility over the standard facility model. Post production rarely manages to follow 9-5 patterns, so there is often a need for ‘out of hours’ working. Having the option to work from home means resources can be made available at times when it would normally be impossible.


How does this change your business model?


DC, ENVY Every service we offer going forward needs to include an element of flexibility, allowing clients to work how they want and where they want. We have all proved over the last 18 months that projects and workflows don’t need to be confined to the same 4 walls or even the same continent. This will broaden the service offering, whilst making it even more crucial that a post house is managing the whole process, ensuring every element; on-premises and remote is in sync.


SK, Evolutions It changes it in 48 televisual.com Autumn 2021


a very positive way! The big issue that every post house has in Soho is the cost of real estate. Cutting rooms don’t make money for anyone. The margins are in the finishing. The more that we can push outside of our walls in Soho into people’s offices, or homes, the more finishing we can offer in Soho.


RB, Clear Cut Our customers are reacting as individuals: some would prefer to work remotely; others want a hybrid solution and others have continued to work on-premises throughout the pandemic. Our business model is to deliver what our clients want and adapt to their needs, that will not change.


JM, Storm Even if 50% of offline is remote, it means we have an increased capacity within our infrastructure without the overheads of lease, maintenance, etc. Even before the pandemic, we were looking at ways to implement virtual edits whereby we wouldn’t need as many physical suites as we do.


DK, Oneracoon We are selling knowhow, not real estate and hardware... our mantra is people, process then technology…We are not tied to long term leases or constrained by the number of physical rooms we have to offer.


AM, Fifty Fifty Remote working obviously has the ability to increase capacity in a range of areas. It is the flexibility and choice that is now offered so that working practices can be tailored to suit different requirements that really changes the model.


Are PSB jobs (and rates) still attractive?


Cara Sheppard, MD, Twickenham Film Studios There is no denying the rates that PSB’s have been expecting to pay are much lower than the HETV and feature clients. However due to the shortage of space, facilities and crew I think they are really having to look at this and I am noticing the rates they are now willing to pay are trending upwards.


JV, The Nest They are for our business model at The Nest.


JL, Virtual Post The rates for PSB are less attractive but we have adapted our approach and workflows to be more efficient to handle that. We still need to meet high standards demanded by the Broadcasters which means not cutting corners. If that means finding efficiencies to take on work or losing work on price, then that is something we are prepared for. The majority of our customers know what’s involved and we often find solutions that work for both parties.


TU, The Look We make a decision on PSB jobs based on the budget, script and personalities involved. Generally, though 80% of our work is for streamers as the rates are far higher and often the post teams on the other side are experienced and supportive. PSBs made their post teams redundant years ago.


JP Dash, md, Fifty Fifty It’s definitely still attractive, PSBs continue to commission important and brilliant telly and even though Fifty Fifty has a significant footing


in the SVOD market, we love making broadcast TV. Sometimes rates and budgets can be challenging to work with but it takes all sorts to keep a post house going and to fill up our schedules.


SK, Evolutions Remote working has made it more feasible for us to work with some productions with lower budgets. We are now doing jobs that we might have turned away in the past, because clients can use our remote solution. Our PSB jobs are still attractive, it just depends on the budget. So, yes and no.


Are the higher rates for HETV sustainable?


CS, TFS I think they are. The volume of content being demanded by the consumer and the new SVOD platforms which are being launched – a lot by the content providers and creators themselves – is driving this.


TU, The Look It’s a free market economy, the demand for high-end post talent is currently outstripping the supply available, thus rates will continue to increase until that equation changes.


JD, Fifty Fifty With any step forward in technology and when new services become niche rates increase, but as we’ve seen in the past, this usually doesn’t last and the market settles. I feel the same on rates for HETV and SVOD work and have already witnessed a taming of what initially felt like quite a leap in rates.


Brian Hardman, Head of Post Production Broadcast Operations, dock10 Yes, they appear to be and will


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