FUTURE WORKFLOWS
POST
THE AWS IBC DEMONSTRATION
The AWS ‘Studio in the Cloud’ demonstration at IBC also presented an end to end picture post workflow from the point of capture, although taking the project further again into searchable archive and localisation. The two demonstrations show two sides of the
same coin and are both linked to efficiency – a word that will be at the front of every vendor’s lexicon next year. With AWS, the camera assets are ingested straight
into the cloud, never to be downloaded. Historically one of the major downsides of cloud workflow has been the need to download very large files with the accompanying expensive egress fees. The AWS ‘proof of concept’ was an inevitability
ever since I’d seen the Colorfront ‘Transkoder in the cloud’ demonstration back in lockdown. Taking
A GLOBAL PERSPECTIVE
’The positive result of the pandemic was the heavily accelerated development of a remote working model to allow content to be made and distributed globally despite the geographical restrictions in place. I’m unconvinced that remote working will remain to the extent that was required during the pandemic however it has allowed more collaborative working model which is not restricted by location and time zone.
“At Picture Shop, we have seen that across our global group the ability to utilise services and facilities in other locations due to the connectivity and infrastructure which was rapidly developed and implemented, much of which will only improve our global pipelines, effective utilisation of worldwide facilities and talent going forward and therefore offering an even better and more collaborative experience for our clients.
“The increasing pressure on our clients to create more and more content will mean an ever-increasing need for facilities to increase their capacity and connectivity to deliver this content, therefore requiring some ‘outside of the box’ thinking much of which has been helped by the accelerated growth of remote working.’’
Cara Sheppard President Picture Shop
Autumn 2022
televisual.com 81 Colour grading at the Picture Shop on Newman Street, W1
advantage of on-demand cloud computing resources, Transkoder was spitting out DCPs and IMFs in all the required standards and delivering them to respective studios, broadcasters and distributors with the files already ‘uploaded’ in minutes. Another initiative that caught my eye at the start of
the year was the Nvidia Omniverse solution linked to Universal Screen Description where VFX artists can work collaboratively – and importantly remotely from each other - on the same platform with no perceptual latency (within a thousand miles of the compute and data). One of the take-homes was that the artists weren’t working on a large, high-bandwidth, asset that they needed to download, but rather on a stream of pixels. Additionally, they weren’t working on their own workstations but with thin clients where all they required was reasonable connectivity, a monitor, keyboard and mouse (or tablet and pen).
And underpinning the industry’s workflow future
is the MovieLabs 2030 Vision. The AWS initiative is unlikely to be rolled
out and become ubiquitous tomorrow and it is probably some years down the line before it starts to gather pace. Industry insiders tell me it requires a raft of further APIs and standardisation to iron out the bottlenecks and bring it together outside of a predetermined use case. The demonstration also didn’t show audio post. And despite the industry’s cutting-edge technical adoption it is in many ways still conservative. But it is going to happen, and an increasing
number of high-end films and television shows are going to be made this way. The question is when. The implications however are significant.
Currently the lead post house takes the role of ‘the custodian of the camera negatives for the lifecycle
VILLAGE FETE
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