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WHAT NEXT FOR POST PRODUCTION?


POST


“[with building costs] a solution that could help


is to create offline review facilities to be booked by the hour so editors and production (directors/ producers) can review the edit in person and sign off any final changes,” he adds. Evolutions has talked to several energy suppliers


to get the best deal for its current usage. “In addition, we are looking at ways to reduce our usage of energy,” says Kemp. “It has been hard to pass this cost on as producers are having their budgets squeezed by broadcasters and streamers. Direct help from the government would be useful as post is very energy dependent.” Moss proposes several solutions, including


Top left: Channel 4’ Stath Lets Flats with post at Envy


Top right: The BBC’s Peaky Blinders with post from Molinare


dynamic charging, working with other facilities to buy green energy, planning to keep the power down when building new facilities, and doing what post houses have always done: continually refresh systems with new, more efficient equipment. “Just by Moore’s law, if we’re buying new systems, we’ll have double the capacity with half the power output,” he says. “So that helps, but it is a massive problem.” Another route is working with clients to advise


them on power efficiency. “The only thing that drives efficiency is money, and we can make it cheaper, or not cost more, by sticking to these [efficiency] rules,” he says. “But it’s got to be a win- win for everyone, or clients will go elsewhere. So, you’ve always got to have that commercial edge.”


TRAIN OF THOUGHT As for training, many see the need to create a dedicated fund for post-production. As detailed on Televisual.com, Neil Hatton, CEO of industry trade body UK Screen Alliance, is proposing a ring- fenced Post & VFX Skills Fund, supplied by every facility putting a line item on all their invoices for a 1% contribution to staff training. “Neil is right to start a conversation about


supply chain; the ecosystem as a whole needs to be considered by everyone,” says Folley. Splice is looking at introducing dedicated trainer


roles in its teams whose job it will be to train the new intake. “We’re also looking at overstaffing to include the capacity for staff to train on shift and at creating more formal training programmes to monitor and track progress and ensure the training is delivered consistently,” says Folley. “To create a new talent pool, you need experienced people training; this comes at a cost, as does overstaffing or creating internal training programmes. “Ultimately when it comes to a more global


look at the supply chain this is where there needs to be some understanding that these costs will need to be met and with budgets continually being challenged in post it is a concern. Commissioning networks providing and ring-fencing funds for training is a good idea, and I would welcome any conversation around that but it’s also our responsibility to tell the industry what we need.” Moss also seems tired of the hoops that


“I just want a little bit of funding to be able to bring in somebody who will only concentrate on training, not to make any money out of it”


large facilities [not being training companies or freelancers], must jump through with funding bodies and government help for training. “I just want a little bit of funding to be able to


bring in somebody who will only concentrate on training, not to make any money out of it,” he says. “I will put six people into the industry, and I only want funding for one year. I might keep one or two of them, but I’ll be able to throw another four of them into the industry and get them set up as


Autumn 2022 televisual.com 69


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