THE FUTURE IS HYBRID POST PRODUCTION
lockdown “to feel more connected” to the work in progress. “The question is how do we keep
a sense of community and how you celebrate an emotional journey when everyone is disparate?” says Farm Group Commercial Director, Charlotte Layton. “That’s true now as it will be as we move more toward cloud.” It’s also premature to write off
the dedicated post hub if production companies are going to cut back on their real estate. “I struggle to believe every single
production house will come back with the same set-up,” says Layton. “Arguably, a facility becomes more important for key meetings and moments.” The access to freelance talent
ELEMENTS TURNs TO GAMES TECH
Elements has turned to the gaming industry to solve the problem of latency for remote workstations. It has partnered with a company (which it can’t yet reveal) involved in streaming games and incorporated its tech to share a Mac Pro or PC so it can be connected to from home, even by a thin client. “Think of this as Teamviewer on steroids,” says Alistair
Washbourn, Commercial Director. “The technology we are using is a vast improvement over standard IT oriented remote solutions, so you get higher frame rates and ultra-low latency, as the technology used is built for streaming 3D interactive games where minimal latency is defining. That means you are able to edit in 4K ProRes 4444 on a machine in London and share that synchronously with a machine in Denmark.” Doing same from here to LA is at the limit of its
distance “but there are no issues working in Europe.” It’s a pure software solution just as applicable for storage
on-prem as cloud with signals encrypted in an Elements security layer. The ability to work with Macs is believed unique. Since streams are compressed in H.264/H.265 it is not suitable for critical final finishing. The product is in beta at select sites and expected to launch in September.
located anywhere is one of the benefits which distributed production opens up. Teams of loggers on Fact Ent shows, for example, need no longer be grouped together in either production office or facility. “The whole concept of regional
post will change,” predicts Layton. A facility might hold media in one location, employ creatives working in multiple other places and deliver the show from another. “Geographical diversity will open up the industry more than ever. The gloves are off for regional requirements.”
The pioneers Far sighted facilities have already made the switch to cloud. Perhaps it is no coincidence that both Untold Studios and Jellyfish Pictures are not simply servicing clients but also producing work from scratch in house. Jellyfish’s transformation over the
past couple years from London-centric VFX shop to internationally distributed workforce (handy for Brexit) provides a reference architecture for studios and design firms wishing to implement “security-compliant multi-tenant virtual studio environments” according to Pixit Media, one of its principal infrastructure partners. Using scalable storage from
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televisual.com Summer 2020
Pixit Media and PCoIP remote workstation access from Teradici, the Jellyfish project offers a template for concurrent isolated virtual studios instantiated on a per-project basis”. Each studio meets distinct production requirements in terms of staffing, compliance and infrastructure. Over in east London, Untold
Studios launched as the world’s first completely cloud-based creative
“geographical diversity will open up the industry more than ever. the gloves are off for regional requirements”
studio in 2018, running all desktops (processing and rendering) for editorial, VFX and finishing in AWS with fast connectivity from premises to the cloud over Sohonet. Instead of outlaying thousands of
pounds on machines just to get up and running, Untold’s capex was minimal. It only pays for actual compute when machines are spun up for a job. “We’re never going to get into
a situation where we have to turn work away because we don’t have capacity,” says Head of Technology, Sam Reid. “Our studio is not constrained by the physical location of our data, so we don’t have to have artists in the studio working on content – they can be anywhere in the world. That was as true before the pandemic as it is now.” There is no reason why any
creative community should be less productive because they’re not physically in a studio. Those days are long gone.
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