POST


FUTURE WORKFLOWS


Over the following pages I have asked some of


the post community’s more prominent voices to share their thoughts. How they are applying the latest technology solutions now and how they see remote workflows evolving.


THE TELEVISUAL VILLAGE FETE ON SET DEMONSTRATION


The Televisual Village Fete took place in the Montague Street Gardens back in the summer. Working with Tom Mitchell, Technical Director at Mission, we built the better part of a picture post house with a live demonstration showing a full colour pipeline from camera negative (straight from a Sony Venice 2.0) to edited 4K HDR IMF deliverable with full 4K HDR monitoring at every station, including DIT, live grade, lab, LTO back-up,


editorial, grading, remote review complete with two- way internet connectivity for VFX pulls and editorial. The production village was set up in the


morning and de-rigged by 8.00pm. It was an exemplary demonstration of what can now be done on set and during production and by early evening we had a short film edited and graded. To make the demonstration work we invited


best of breed vendors to contribute with Mitchell designing the workflow and overseeing the whole. The Sony Venice 2.0 was recording the garden party to 8K X-OCN sitting atop Motion Impossible’s Agito – a modular robotic dolly with full pan and tilt that somehow defies gravity – recording both to media cards and sending proxies to the DIT station via Teradek Bolt 4K for a live grade with SanDisk Professional SSD drives copying CDLs (Colour Decision Lists). The DIT


used AJA’s FS-HDR to switch instantly between SDR and HDR when reviewing the files. The camera cards were copied in the lab


station to Jellyfish OWC’s 10G NAS storage and backed up to Quantum LTO tape drives with copies for physical transit on ArmorLock. From here the media could be viewed in editorial and the grade at the best possible resolution, with Symply Spark local high-performance Thunderbolt 3 storage caching the files. In the editorial station we showed Avid


Media Composer working on Mac Studio and demonstrated a new application that Mitchell had developed called Origami for seamless VFX and DI pulls from on set and working with LucidLink we were able to get them straight to the cloud and the VFX vendor in a managed way where they could be processed and rendered and passed to


REMOTE GRADING FROM THE SOUTH OF FRANCE


Rob Hardy, BSC on set


"The world changed in 2020 when Covid struck and we were forced to work completely remotely. This ultimately led us to take the decision to pull out of Soho and Pinewood as the flexibility of working this way proved to be an absolute game changer. Now based in the South of France (with 1gb internet), we are just completing the grade for Spy Among Friends a 6-part 4k HDR series for Britbox, Sony Pictures and ITV Studios which is being attended by production in Soho.


“Using a selection of platforms, (Frame.io, Clearview, Davinci to Davinci) we are working on several projects, either arranged direct with production or via local post production facilities in London where the client remotely attends the grade in a review suite connected to us."


Narduzzo Too’s farmhouse and grading suite in Aumagne 76 televisual.com Autumn 2022


Vince Narduzzo Colourist / Owner Narduzzo Too


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