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POST PRODUCTION THE FUTURE IS HYBRID


model where every room has a machine to moving everything into the local server room with everything connected to external NUC clients. The next step is to take the whole machine room into a data centre. “The cost of installing dark fibre for


connectivity between here and a data centre is one factor. Another is control. The second you move into a data centre you gain redundancy but are tied to their costs.”


“our artists are experiencing 23 milliseconds of latency over a home broadband connection”


Roundtable’s hybrid-cloud solution


is being designed by Pixit Media using its data management layer Ngenea, with hardware designed by Escape. It’s an example of Pixit Media’s


bespoke approach to the facility evolution, explains the firm’s Andrew Wierzen. “The last few months have demonstrated to us that products don’t solve problems. A piece of infrastructure or a production tool in isolation is worthless if it’s locked in a building or in a datacentre with no access.” Private, public or hybrid cloud


are not solutions, he insists. “An editor doesn’t care if behind the scenes are a complex series of interwoven products and technologies. That editor needs their audio in sync, their assets to be readily available, and their interface not to hang. They care about creating.”


CLOUD IS GO! Full service creative agency Wordley is in process of taking all of its suites into Azure after finding the cost of


EditShare goes cloudbusting


“The questionable economics of editing in the cloud have been the biggest objection to adoption – until now,” says EditShare’s Griffin. “EFSv fundamentally changes the economics in the cloud.” EditShare’s latest product,


EFSv, allows high-resolution original files to be stored in economical object storage while small lightweight editing proxies are stored in standard block storage. Both sets of files are always available and accessible to any NLE application— streamlining colour grading, effect creation and conforming.


“Block storage is expensive


but very fast, perfect for editing UHD and HD files,” says Griffin. “Object storage is cheap, but it’s not compatible with editing – as it was designed for mass data archive. What we’ve done is put proxies of all the content that’s in object storage into block storage. We have integrated our EFS drivers and reverse-engineered them to look at both object and block.” The automated movement


between storage tiers can save client’s up to 75 percent of costs over an entire production. Griffin cites the example of a non-fiction TV show shot 4K compressed XAVC 300 and a frame rate of 23.98 at 30Mbps bitrate. He calculates, “You would need 109 TB of usable storage which on block is $6131


and on object $1362, your savings per month are over $4700.” A feature shot in ARRI


RAW 6.5K 24p at 732Mbps is estimated to require 2.6 PB of block storage costing $60k a month, but on object that’s slashed to $13k. “You’re not moving files on and off: the system is pointing at two files simultaneously and with the flick of a button it automatically switches to where it is located. You could have your entire archive on cloud, but it is instantly available because all your proxies are kept in object storage.” Jigsaw is a test site for


EFVs and has implemented it into its own private cloud to provide clients in Soho the ability to remote produce.


connectivity to the premises has reduced significantly. “Our Mac Pros are due for upgrade


next year and the economics of either buying new ones versus the cloud now mean we’ll move exclusively to cloud where we’ll have flexibility to spin up identical workstations for extra capacity,” explains Flame artist and colorist Glenn Collict. During lockdown Wordley has


connected Avid, Premiere and motion graphics tools into Azure using Azure’s HPC Cache to provide low-latency file access in support of high-performance workloads. Going forward, Wordley has


chosen to work with Elements One (NAS) for functions like assigning access to drives and running certain operations in the background. “As cheap as cloud storage is going


to become it still makes sense to go with a media centric software layer over the hardware.” He stresses, “Cloud is not just an


off the shelf solution. For me, Azure has the best mix of GPU, security and access to rich APIs so you can build your own system in the background.” Being located in Cardiff a short


hop from an Azure data centre is a bonus. “Our artists are experiencing 23 milliseconds of latency over a home broadband connection which is close to the performance we’d expect from a dedicated line. Plus, Azure pricing is considerably clearer than Amazon. If you want a gig a month you pay for that.”


PREMISES STILL CENTRAL TO SUCCESS Not even Wordley, though, is prepared to give up bricks and mortar. The facility building remains core to the future of post. “You can never be 100 percent


sure with remote finishing that two people in different places are looking at the exact same picture,” says Collict. “Editorial and graphics work perfectly


fine remotely but reference grade monitoring is still preferable in a fully- spec’ed suite.” Jones says directors are


keen to return to the facility. “In documentaries more than other genre you are writing the story in the edit and they feel a lot of that control is lost if done remotely. No matter what remote tech you have in place, this is the hardest to recreate virtually.” It’s not just the calibration of


displays or mixing of Dolby Atmos which demands finishing in a specific room. It is the very nature of collaboration and indeed of celebration which is missing in a wholly remote scenario. “There is still need for a sofa and


a drinks trolley,” says Klafkowski. “It’s about coming together in one room either for critical review or for the hero moment at the end of a project.” Producers of a recent project


opted to meet at The Farm (observing PPE protocols) at regular points under


Summer 2020 televisual.com


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