IN-HOUSE FACILITIES inside job
productions scale through our vast library of archive content. We also have secure cloud-based disaster recovery for data.” “We provide a full range of post
services from our recently upgraded Intel Core i9 Z4 Avid Offline suites, through to finishing, QC and delivery,” says Cuttica. “We have a fabulous freelance pool of finishing talent that works closely with us to produce a high standard of finish. In the days before COVID19,
production team members could simply walk down a flight of stairs for access to Manor’s edit suites or a purpose-built viewing room. “Sharing the same office network
offers many collaborative advantages,” Cuttica adds. “Operating companies can access our NEXIS via hardware that can be used in the edit, at home or in the office. We store rushes and master assets on site so we can quickly respond if productions need access to their current or historic media. This removes a lot of the stress and the need for cupboards full of hard drives gathering dust which no one fully takes responsibility for. “We offer a robust disaster
recovery plan and archive facilities, removing that headache from oper- ating companies,” he continues. “We offer facilities for taster tapes and only charge for hard costs, which helps keep development costs down.” Manor also offers low-cost
camera kit rental for commissioned and development work as well as wrangling laptops with SSD Drives. Zinc Post is a full end-to-end post
facility offering the full pipeline of services from ingest to delivery. After many years of running only offline edit suites, the group invested heavily
in 2019 and built two online / grade suites and a ProTools suite. Another online / grade suite was added in 2020, as well as a VO booth and 5.1 capability to the audio suite. “Zinc Media has always had
internal post,” says Strous. “Our labels output a high volume of content and having internal facilities to serve these series has always made both commercial and operational sense. We regularly have upwards of eight concurrent edits on one series for several months, which at an external facility can prove both costly and sometimes logistically challenging.
Tooled up “Many internal facilities (ours included)
invest in the same equipment and recruit from the same market as external facilities,” says Strous. “Some key investments only become viable for us when production requirements become commonplace rather than ad hoc - such as Dolby Atmos or 3D
compositing.” Strous feels the bare minimum
requirement for in-house post in terms of tech is fast shared storage over a high-speed network, with reliable edit machines. “Establishing how you are going to
provide those services is key,” he adds. “With the advent of remote working, we’ve opted for the Teradici + Cloud Access Connector model. We’ve tried to make it a seamless process for editors and productions to get on- boarded to our remote systems.” “Since the pandemic, we
have made a significant and rapid investment to support remote editing,” says Cuttica. “It became clear that an increasing amount of television production would be possible with the deployment of edit kits directly to the home of Editors and Edit Producers. The second half of 2020 was very busy, supporting five of The Group Companies in London and two in Birmingham.”
Autumn 2021
televisual.com 55
“Many internal facilities invest in the same
equipment and recruit from the same market as external facilities”
OLLY STROUS ZINC MEDIA GROUP
POST
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