ROUNDTABLE
STROUS Adapt or die has been my mantra for many years. Sometimes adapting isn’t enough, take yellow pages for example. I look at Black Cabs protesting Uber and think hey, private hire has been around for a long time. Uber has just made it incredibly accessible. We all want simpler lives but at a price point.
Post is the same. For the last 8 years I’ve been championing using automation for repetitive tasks instead of people. This was never to make a load of people redundant. It offered a better, faster service to productions, a lower cost base we could pass on and most importantly allowed intelligent people to do more intelligent tasks.
The same for me holds true with AI - can we shortcut some processes to benefit the production? Could automated blurring on blue light shows shave hours off the online and save a tedious job? Could text based editing help producers sync pull in a way never seen before? Can we put that time saving back on screen to create even greater work at the same cost?
Post houses will continue to offer best in class creative and technical talent nurturing projects from start to finish. While those using facilities may not be spending as much time physically in suites favouring remote, the bricks and mortar remain indispensable collaboration spaces and the comfort blanket that experienced post facilities offer isn’t going anywhere quickly.
KLAFKOWSKI From a distance, facilities will look much the same, although they will take up less physical real estate. They will focus on the mastering and delivery of the finished product. The physical location of the hardware for these processes will be cloud-like and provided by a combination of self-provision and external
The Finish Line worked on Getaway Driver
vendors. They will also still provide spaces for editorial creative (offline suites) but the engine that runs this will be delivered by third parties, in a cloud-like fashion.
Solving how creators maintain meaningful collaboration in what is clearly becoming an increasingly disparate world is key. That’s what our new platform, Tanooki is here to do - a single, agnostic, unifying application layer, to keep track of the edit, all the ancillary applications and the remote teams a modern production requires.
CHADFIELD A quick look at the stagnation of rates in post over the last couple of decades shows that the traditional post-production model has been broken for a long time. Not for a lack of creative or technical talent or wonderful facilities that are great creative hubs, but because of financial decisions at the top which trickle down through the production and post processes.
Residence worked on The Gallows Pole
If there is a financial incentive to keep costs the same or push rates down, then technological innovations to enable the work to be done will always be taken, whether they are morally right or not. The decisions are made from necessity rather than desire; if rates don’t at least keep up with inflation, then what are you to do? Sometimes you find unexpected benefits to a leaner process but more often the lower rates just lead to talent exploitation and cut corners.
My choice to run a distributed and embedded post business was a way to sidestep that. If the rates can’t pay for the product to be made in the way it has been traditionally done, then the manufacturing process needs to change. The talent remains the key component, and investing all we can in looking after and developing current and emerging talent is all that matters to me. The talent does the creative work; everything else is purely superficial. You can’t stop progress.
MITCHELL Netflix are working on tools like content hub, they’re encrypting data on AWS at the moment to store stuff. The streamers have got big development teams. They ultimately want to control the workflow, but they’re a long way away from doing that. It’s OK in the UK or USA, but the problem the studios have is that if you go to somewhere like Europe, you might get one or two companies up to speed but once you got one or two big films in a territory, you’re stuck with the B, C and D teams. The workflow starts to struggle and causes problems. And what they’re looking for is a way of saying, ‘do you know what, we want all our shows to be archived properly in IMF and in ACES, and we want to build that as a standard. If we build our own tools for you to then submit your masters, we can archive it and organise it.’
They first start by asking you to work in Summer 2023
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