SHORT FORM TO LONG FORM POST
POST
Glass Onion: A Knives Out Mystery with post work from 1920
most. “We always intended to do it but, if I’m honest, it happened really organically,” says Coffee & TV’s Moreton. Essentially an existing short form client that needed help with a long form project. In Coffee & TV’s case, Peaky Blinders. “That was just going to be a couple of shots. And then we ended up doing around 170 in the end. Then one thing led to the next…”
Unit’s Luckwell was similarly approached by commercials clients to work on Britannia. “That was amazing for us because we got nominated for a BAFTA. That instantly attracted everyone’s attention internally.” Vfx on Avenue 5 followed and then “about 18 months ago, somebody said “do you do long form picture post?’ So, we reached out to Louise Stevenson [formerly of Technicolor] and brought her on board to EP the long form picture post side. So, we’ve now got three distinct revenue streams - commercials, long form picture post and long form vfx.”
Freefolk’s Wright also describes “an organic process” but “winning an Emmy early on in our longform journey, for our work on The Alienist, meant that we were then on the radar of the studios and could focus readily on the episodic and film jobs that started coming to us.”
JAM’s Andreopoulos also says his company was “considering trying to get into more long form work” when an opportunity to work on End of the F**king
The BBC’s Worzel Gummidge with post work at JamVFX
World came about. “Everyone really enjoyed the process of working on that. Since then, it’s been quite organic. We haven’t really gone out there to find that work. It was something that happened through one producer and then that producer introduced us to somebody else and then they pass on the information to someone else.”
GETTING SERIOUS
But while many short form houses initially dipped a toe into long form, making it an ongoing part of the business requires significant change. “Project duration is an obvious one, days or a few weeks for commercials versus multiple months for longform,” says Freefolk’s Wright. “This difference in duration also affects the allocation of resources: short form projects generally use smaller teams for a condensed period of time, whereas longform projects typically require a larger team of artists, specialised departments,
and more substantial resources including editorial and data management to support and handle the increased workload and complexity.” And it’s not just the creative side that requires change. “The bidding, review and approval process in longform is also more structured than in commercials and demands greater production resource over a far longer schedule.”
Getting the right talent is also key. As in commercials, producers and directors in long form will go where their favourite colourist or vfx producer is currently working.
Tech upgrades are also needed. “We have invested in more machines, faster server, more storage and better archiving,” says 1920’s Hurst. “Remote has helped the immediate need for space but we are now in the midst of looking at another floor.”
“Our servers obviously increased in size. We’ve had to add more storage, which is only going to get bigger and bigger so
“The bidding, review and approval process in longform is more structured than in commercials and demands greater production resource over a far longer schedule.” PAUL WRIGHT, COO AT FREEFOLK
Summer 2023
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