TECHNOLOGY TRENDS FACILITIES 50
SURVEY
our work for BBC Sport on the Olympics and the World Cup in Qatar with all post production hosted from our Media City base.” Hijack says it has “already
worked on a number of VP shoots. We will be looking to forge partnerships in the next 12 months to provide training and new services.” Ghost VFX says that the tech will
have a massive impact “on digital environments, shooting on LED volumes, ICVFX, Previz, Layout, Concept, Lookdev & Environments as well as Final Pixel Rendering.” TAG says it’s expecting a positive
KIT INVESTMENT
How much are you planning to invest in the coming year?
£0-£99K (12%)
£100K-£499K ( 4 3%) £500K-£999K (19%) £1M+ (26%)
impact from VP, “not just financially but sustainably too - less wasted set builds.” Doghouse says it can see that “this will move our involvement to an earlier stage in production and create new opportunities.” Because while Virtual
Production may be still niche, as it grows it is one technique that will have a major impact on production and post processes “shifting our contribution into ‘pre-production’ rather than ‘post production’” as Selected Works points out. For many, virtual production
is still a technology that is not significant, at least not yet. “The uptake from productions has been slower than initially expected,” says BlueBolt. “We very much look forward to delving into the technology more in the coming years.” Absolute says, “it may not make
up a large part of our business model in 2022 or 2023 but we expect to be involved in a wider range of VP projects by 2024.” Axis is one of many taking a
‘wait and see’ approach to VP. “Seeing the issues that productions have been having by using Virtual Production as a catch all solution with such limited experience, we are taking an ‘as and when’ approach. Keeping our eyes open for opportunities to develop aspects of VP only where appropriate.” But, as Blazing Griffin says,
“being prepared for virtual production is now a necessity, as
Winter 2022 F24
televisual.com
Top Kit Investments 2021/2022 (continued)
CINESITE £1M New building fitout, alarm, workstations, CCTV
system. Cinesite London moved HQ from Medius House to 10 Little Portland Street. Studio now spread over five floors
F ILMS AT 59 £1M
Offline editing facilities; audio suites and upgrades; backbone infrastructure; grade and online facilities and upgrades
THE MIL L £1M
Workstations, infrastructure, components, licensing
OUTPOST VFX £1M
Pipeline upgrades; cloud infrastructure scaling; proprietary production software; added a new
Montreal studio (15,000 square foot), plus new LA, Mumbai and London studios (all at 8,000 sq ft).
SPLICE £800K
Transkoder, Flame, ProTools, Dolby Atmos and audio studios; Remote and on premise Avid workstations; storage
COF F EE & TV £782K
Pixstor central server; disaster recovery solutions; move to our own cloud based data-centre; extra
workstations; closed 1 floor in Soho, opening new studio in Farringdon December 22
COMPANY 3 £750K
Pixit SAN storage upgrade; Resolve and Baselight expansion; Sony 310 grade 1 monitoring. We completed our move to 28 Chancery Lane
FR AMES TORE £650K
Pre-production services kit - editorial and review suites, storage upgrades; review suites and
meeting room upgrades; Mumbai Office expansion; integrated Method Montreal, Melbourne and
Vancouver film and episodic teams into Framestore RACOON £600K
Nutanix, storage, monitoring (IZO), Avid and
ProTools. New facility on Margaret Street - 6 floors editorial/ finishing/review rooms & Dolby Atmos HE, 5.1 surround studios and VO.
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