TECHNOLOGY TRENDS FACILITIES 50
SURVEY
technology becomes more cost- effective and accessible to all and adoption increases. It is essential that post houses are prepared and well versed in the pipeline to engage during pre-production and shoot.”
COLOUR COORDINATED Talking of pipelines, the move to on- set colour management, particularly in HETV, has also been gearing up. Picture Shop points out that
“with the increasing variety of digital cameras and formats in use you will find more productions will be focussed more on colour management than ever before.” Fifty Fifty argues that as “HDR
becomes more prevalent then it would seem sensible to have increased colour management on set.” Twickenham too says more on set colour management will “definitely” happen. “Some DoPs and directors are very keen on colour management on set.” Hijack says it offers “a range of
on-set colour management options for shoots. We expect to see more on set colour taking place in HETV and features but not necessarily for commercials.” Rascal too says there will be more of this “We have actually taken one of our Baselights down to a studio before. It was very successful.” However, others including
Doghouse say they don’t “anticipate this affecting us due to the type of productions we work with but a better understanding by production companies is essential due to SVOD delivery requirements.” Outpost Facilities says: “We
aren’t seeing this in our drama work at the moment - the benefits are a bit obscure.” With Evolutions adding “that while LUTs will be exported to on-set pipelines the bulk of colour management will remain in a facility environment.”
MIX AND MATCH What is now pretty much set in stone seems to be flexible offline workflows. What was accelerated during lockdown has now become
Winter 2022 F26
part of the furniture. “It really does give production and post flexibility,” says Coda. “Particularly for factual,” says West Digital. “It just works.” The Finish Line says: “We meet very few editors interested in heading into Soho. Now they want all or most work to be done remotely with some in-person time.” Hybrid working is now key and
“seems to be emerging as the most popular model,” says Clear Cut. Hybrid working is “here to stay,” says Run VT. “As more and more people look to leave London, the likelihood is that it would be on the increase.”
IN A FACIL IT Y ENVIRONMENT
MANAGEMENT WIL L REMAIN
THE BULK OF COLOUR
EVOLUT IONS
HEAD IN THE CLOUDS The use of virtualised workflows has been another big topic in the post world of late, particularly since Covid. “Virtual machines had been gradually gaining favour among the industry, then in early 2020, the world as we knew it completely changed and working from home became a global mandate,” says Cinesite. “We were forced to rethink our workflows to keep delivery schedules on track. Virtual workstations, and cloud-based tools in general, have proven essential for our studios during this time.” Absolute says moves in this
direction are “happening quickly and will be key to the success of most facilities in the coming years.” The Finish Line says that 90% of its work “is done with virtualised systems, from our private cloud or external suppliers.” The Ark points out that “there are more secure ways than ever to allow for this.” Molinare says that “for us being a
Baselight and Flame house, Filmlight and Autodesk’s recent demos at IBC of running those applications in the cloud make virtualised workflows a lot more achievable. As an industry, we just need to trust the technology - having a crate under the desk is the known.” But there’s a sticking point, and
that’s the price point, which is “still prohibitive for many uses,” says Coffee & TV. Blazing Griffin says that “for us it remains economically
televisual.com
unviable to build a long-form post production business around a fully virtualised cloud service offering - as things stand, we currently see the benefits being as an ad-hoc addition to an on-prem offering.” Suite too says that it “depends on it becoming affordable. At the moment on-prem is the cheapest option.” Time Based Arts says, “perhaps
in the wider industry, yes. We have decided to keep tech predominantly local as we think it fundamentally gives opportunities to new artists. Often the way into a creative seat is to start on an ‘old box’ and get your hands dirty and this seems fundamental to us in terms of providing more opportunities.”
ALL AROUND THE WORLD Increased connectivity, the changes wrought by lockdowns and the uptick in inward investment into the UK has meant that post production houses are working more globally, both for far flung clients and with far flung talent. Cinesite says “it increased our
order book and the demand for skilled artists across the group. Financial incentives in certain locations have helped globalise the VFX business for some time now. And the COVID-19 crisis further accelerated home entertainment demand and remote work. The pandemic has really kicked the globalisation of the vfx and animation industry into high gear, and now even more producers know what can be achieved.” Roundtable says global
connectivity has “increased opportunities, we regularly have edits securely remoting into our facility from abroad.” Coda says, “it’s amazing, being
able to work with a company on the west coast of the USA as if they’re based just around the corner.” Fifty Fifty says it “has shown
that genuine collaboration can take place across continents and that a majority of stakeholders are open to making this successful.” Company 3 says it works “with
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