SURVEY
FACILITIES 50 TECHNOLOGY TRENDS
Top Kit Planned Investments 2022/2023 (continued)
UNI T £500K
Baselight, Sony grading monitor HX310, Sony PVM monitor; longform Flame
machine; Flame upgrades; VFX machines CL EAR CUT £400K
Birmingham (infrastructure and building costs on top); audio upgrades; further
security measures (cyber etc); ongoing 4K roll out to meet demand
F IF TY FIF T Y £350K
High-end finishing storage; additional Flame online; additional grade suites
RACOON £350K
Baselight, storage, Nutanix RUN VT £350K
New grading suite; two additional audio suites; Nexus storage; nearline
L IPSYNC £310K
Increased capacity in VFX; sound upgrades FREEFOLK £300K
Flame software and hardware; CG & Nuke workstations; Davinci Resolve; Redshift &
Arnold render nodes. We are moving to our new site in Spitalfields in early 2023
GL AS SWORKS £300K
Software and infrastructure ONSIGHT £300K
Data storage; workstations; monitoring; facility infrastructure
BL AZING GRIF F IN £250K Dolby Atmos 7.1.4 dubbing theatre; MTI
Cortex; new high performance workstations throughout picture division; internet infrastructure upgrades
I TN POS T £250K
Replacement LTO library; additional content agent; additional Nexis; dubbing suites upgrades
NINE TEENTWENT Y £250K Increasing render farm and more HIJACK £100K
Additional sound facilities (inc Dolby Atmos); additional air conditioning; DIT equipment
RUMBLE VFX £60-100K
Workstations and playback suite upgrades THE ARK £100K
Scanners; restoration kit WEST DIGI TAL £100K
Audio suite upgrade; new Avid certified PCs SP S £200K
Continue to upgrade Baselight area. Look to upgrade monitoring in finishing suites. Continue to build out our virtual machine
infrastructure improving the performance of the VMs and collaboration with production.
OUTPOS T FACILITIES £150K More 4K HDR
SUITE £150K Audio upgrades; editing hardware; monitors
EDI T123 £100K LTO storage
DIREC TORS CUT £200K
4K/UHD Infrastructure; IT RADIANT RAPID £200K
Grading suites for Manchester; upgrade of offline workstation, moving to DataCenter
workstations; infrastructure for film and episodic dept
NO.8 £250K
Workstations; infrastructure TBA £250K
New build. vfx and online suites for film and TV
TWICKENHAM £250K ProTools systems and Avid S6 controllers
BL EAT £200K 4k monitoring
uses “any AI and automation we have access to. We use loads of automation in media management and AI within restoration work, transcriptions for production teams and object recognition. Even using AI for depth maps to use for removing and modifying images in final post.” Pinewood Post says, “there will definitely be an impact as things like downmixes for additional formats will become automated rather than rely on physical passes in mixing theatres.” The Look too says it is “actively automating a large number of our pipelines.” But it’s in the vfx sector that
artificial intelligence and Machine Learning are expected to have the greatest initial impact. Framestore says “we are already using AI technology in our R&D teams” and Ghost VFX points out that “AI is already being used in Deep Fake facial animation and there’s progress in motion capture, automated roto and so on.” For vfx, these technologies
are seen as something that could remove much of the grind from vfx, rather than an alternative to human creativity. “Some feel machine learning will be the death of vfx, but on the contrary there is a huge opportunity to streamline workflows and build efficiency,” says BlueBolt. “We still have such a skill shortage - let artists be artists and let technology do the heavy lifting.” Outpost VFX says it has seen “AI improve drastically over the last 12 months, and while it won’t ever compete with the creativity of our artists, it may provide some use in earlier stages of the pipeline, for example mood boarding, concept and lookdev. Tools like Midjourney could provide artists with a clearer jumping off point at the start of the project if clients start utilising AI for inspiration.” For many, including Time Based
Arts, artificial intelligence tools can’t come soon enough to remove much of the less creative, more labour intensive VFX work: “Bring on the auto roto!”
Winter 2022 F29
televisual.com
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