FUTURE WORKFLOWS
TOWARDS A SINGLE SOURCE OF TRUTH
“Maintaining quality while increasing efficiency are perennial requirements and ones that will be sought even more in our post ‘free money’ world. On screen quality will remain paramount so squeezing budgets directly is not such a great idea. Commissioners are going to be looking for a faster ROI from their cash instead.
“With the right new tech (and practices) in place for both production and post production, the time from green light to screen can be significantly improved. Advances in pre-visual and virtual volume sets are improving exceptionally quickly. The work companies like Final Pixel and Garden Studios are doing is amazing and trust in the entire process is improving. The time will inevitably come that the camera output directly from set is technically finished and signed off and the need for the DoP and VFX teams to be significantly involved in post will be reduced (although the latter seems unlikely for a while yet).
“As this time approaches there would be nothing more efficient (and frankly pleasing) than only having to copy OCF (Original Camera Files) once, to a single (cost effective) storage location and be able to use that storage location as a single source of truth throughout the entire production process.
“An HETV ’cloud like’ conform followed by a colour grade, mastering and delivery without having to move any data locally is becoming more and more likely. The use of JPEG-XS and cloud interface applications like AWS CDI will aid this. I’m watching very closely what Filmlight does with AWS and these technologies. I can foresee a very good fit with Racoon’s virtualised and on-prem mastering workflow solutions.”
David Klafkowski Founder & CEO Racoon
The lab and LTO station Autumn 2022
televisual.com 83
POST
of the project’ and with that the expectation of the finishing work, as well as charging for data management. With the studio taking charge of the camera
negative from the point of capture within their own data server in the cloud, the post house – or perhaps more pertinently the talent - becomes a ‘contributor’. Although the support of a post house and the best working environment are still important factors to consider. It does however make post look very flexible. Since lockdown in 2020, I don’t know of any mid
to high-end post house that isn’t offering flexibility around offline; that is, the offline editor can work at home or on premises (or both) and access the data wherever they are. When people talk about the biggest lesson from Covid, I often reply ‘trust’. We learned that the people we work with are often even
more efficient and productive working from home. Remote offline and review is almost an expectation within most workflows now, rather than an exception. But what made the AWS demonstration so
powerful was seeing finishing tools running from the cloud without any perceptual latency as part of an overall cloud workflow. The AWS demonstration showed both Baselight and Flame in the cloud. The barrier had always been the demanding high bandwidth of high bit rate, high resolution files but within the AWS demonstration they were working with JPEG-XS – a visually lossless compression format - that enables a colourist to grade from a stream of pixels over a thin client working with a panel and display. (JPEG-XS is not unique to AWS and was being demonstrated by other vendors at IBC for similar applications, for example, Sony.)
Sony Venice 2.0 shooting 8K at the Televisual Village Fete
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