WHAT’S NEXT


DRAMA AND FILM POST AND VFX


Net f l i x ’s Whi te Lines wr i t ten and created by Ronan Bennet t


Jellyfish Pictures ceo, Phil Dobree,


whose company’s infrastructure is based around a remote model with HQ, satellite studios and individual artists plugging into a central core, says the future for vfx will be a “blended environment” where studios are used “for things that are good for studios” with other work going on elsewhere. Chief VFX business development


officer at Cinesite, Drew Jones, says that “we now have proof that vfx and feature animation production can be handled remotely and we can clearly see that a hybrid model, where some aspects of production continue to be office-based while others are done remotely would have a lot of advantages.” One of which would be the ability to scale up teams beyond the constraints of the office space as well as providing flexibility for staff.


Get t ing the blend r ight For Envy creative director, Natascha


Cadle, the lockdown has highlighted


that different staff members have different needs: “we’ve just got to try to cater for every single individual” with many missing the interaction and buzz of the office, while others are “pretty much happy by themselves in their bedroom.” And, says Envy ceo, Dave Cadle, the possibilities of home working for staff are now in the mix at the interview stage. “We’re looking at a couple of acquisitions staff-wise and one of the talking points is, can I do my job at home? and we’re agreeing that they can.” Partner and EP of UNIT, Amanda


Luckwell, similarly says that blended working will be a “a positive thing. Some talent, both staff and clients, will combine studio working with home working more than ever before so we are looking at how we can accommodate this.” A move to blended working might


help mitigate the “pretty awful mental health stats in our sector related to the insecurities of always having to move


Summer 2020 televisual.com 43


This pandemic has shaken things up. There is now a willingness to see things differently


John Fleming Technicolor UK


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