WHAT NEXT FOR POST PRODUCTION?
POST
means the battle for talent in the post-production community has never been so hard,” agrees Nigel Bennett, CEO of Molinare. “The desperate need for crew has meant a whole group of people sitting in jobs without the experience required. This is industry-wide, from set to post.” As every facility has different variations on
workflows, the best route for educating new talent seems to be from in-house training. “Post-production is vocational so some of the
best learning happens ‘at the coal face’,” says Cara Kotschy, managing director and co-founder of Residence Pictures. “Unfortunately, for this to be done well it relies heavily on structured in-house training and facility staff being effective teachers. “In my opinion, so that the future of well-trained
Top left:Gordon Ramsay’s Future Food Stars with post work from Envy
Top right: The BBC’s Industry with post work at Gorilla
post personnel doesn’t fall solely on facilities, we need both on-the-job training peppered with offsite third-party training, which there has always been very little of in our industry,” she continues. “Things are starting to change [driven by] organisations such as ScreenSkills but I think more needs to be done specifically for the post industry to attract and train new talent. Co-founder and creative director of Envy,
Natascha Cadle, says training and especially the funding for training is always a tricky conversation. “We have never received training subsidies or had any financial help [with this] but it would definitely be welcome,” she adds. “The Apprentice Levy was meant to help us, but it is near impossible to spend
“We need both on-the-job training peppered with offsite third-party training, which there has always been very little of in our industry”
it and it almost feels like an additional tax – and that you as a business are penalised. It would be much better if we can actually spend it on training – we could do so much more with it!” “Complicated HETV workflows quite simply
require more people and longer periods of training,” says Splice Post managing director Richard Folley. “You learn by watching and experiencing and talking to colleagues daily. While classroom training can be invaluable, that on-the- job experience is where most people learn and it’s by watching and listening to others. “In the UK we are brilliant at training up the
future colourists and producers from those that join us straight from school or further education,” he continues. “It’s quite simply time and resources that need to be allowed, which of course comes at a price.” Those resources are being stretched, however.
Richard Moss, founder and managing director of Gorilla, says facilities are being locked into providing 24/7 services. “We were always 7 am to midnight, five days
a week. But now we need the same on Saturday and Sunday, and midnight isn’t late enough,” he says. “With these shift patterns, you just need more people, and it’s harder. This ‘new normal’ of dynamic on-demand
post services is driven by productions whose staff need or want to work outside normal hours. “We are now getting emails at 10 o’clock on a Sunday or Saturday morning. They think they’re being more flexible, but of course, all these people need support. And our overheads have gone up massively.”
ENERGY LEVELS All the facilities said power costs were of enormous concern. “Our energy costs recently doubled, we expect it to happen again and possibly be worse next time,” says Richard Folley. “We can do as
Autumn 2022
televisual.com 65
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 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156
