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WHAT’S NEXT?


DRAMA AND FILM POST AND VFX


Framestore


created vfx for Bad Wol f ’s His Dark Materials


to different locations” for new projects, says Jellyfish’s Dobree. “It feels like this is an opportunity for the industry to change. Whether it does or not, we’re doing it.” And many have now become more


relaxed about where and when their staff work. “Our artists are having to manage their home/work balance so we have allowed them more flexibility,” says Michael Illingworth, Vine VFX owner and VFX Super. “I am much more relaxed about allowing flexibility during the day and this will shape our attitude moving forward beyond the lockdown. There will always be a need for a creative studio environment but we can certainly be more accommodating in allowing our team to shape their working week around their home life if need be.” The challenge will be to get the


cultural blend right to “make sure that you’re keeping the team working well in both environments,” says Dobree. So that post and vfx businesses can “maintain that sense of collaboration” as Technicolor’s Fleming puts it. Get it right and “we could be in a situation of where we get the best of both worlds,” says Delicata. “A remote/physical working arrangement that is flexible and adaptable can benefit all of us.”


Cent ral question But none of this negates the need for


centralised creative working. Envy’s Dave Cadle points to Gogglebox as an example, where the team needs “a floor of Foley Street. There are 10 edit suites rolling. It’s more like a team sport.” Natascha Cadle adds that the decision is “quite personal to the production company and how they work” with fast turnaround shows an obvious one that needs everyone at the same place at the same time. Technicolor’s Fleming also


points to certain processes that will never be better done remotely “The importance of sitting in a room that is set up with industry standard reference monitoring and allowing highly interactive creative conversations to occur” will always be key. Cath Duncan, Head of Production


at BlueBolt agrees that although “we can make it work with the artists at home, in the long run, we need to get some form of creative hub back.” There are many reasons for this,


and a big one is the development of fresh talent, says Freefolk Joint MD/ EP, Fi Kilroe: “For the less experienced


opportunity for the industry to change. Whether it does or not, we’re doing it


Jellyfish Pictures Phil Dobree


This is an


artists, working from home isn’t something that could carry on forever, as so much of their learning comes from asking or watching senior artists’ methods or technical know-how. The abundance of creativity that thrives when we are all in the studio and connecting face to face is hard to replicate remotely. There will always have to be a balance.” One of Us’ Parker also


points the loss of “osmotic mentoring that happens naturally in a busy studio. It’s a tough time for juniors and new starters.” And, despite the abundance of communication platforms that everyone has dived


into during lockdown. “There is a danger that the subtlety and nuance of creative discussion are lost. Technically, we were up and running very effectively within a fortnight. Culturally, we are still adapting. We are learning new ways of communicating, and recognising in retrospect the complicated network of relationships we took for granted.” As BlueBolt’s Duncan puts it “the


communication between everyone is now down to Zoom or Google Hangouts, it’s rife and vibrant, but it’s


Summer 2020 televisual.com 45


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