Realising a global vision


Jellyfish Pictures is


the largest VFX and animation studio in


the world operating in a completely virtual environment.


The studio’s commitment to push the boundaries of technology allows


the studio to scale and access global talent in


a way that is unrivalled in the industry. CTO Jeremy Smith and CEO


Phil Dobree explain how working with the right partners has enabled them to evolve as a


studio from being locally virtual, to fully global.


“At Jellyfish we’re constantly looking at how we improve our workflows to be more flexible and commercially competitive. We work with some of the world’s leading studios on high profile projects, like Disney, HBO, Dreamworks Animation, and Netflix. This starts with the way we build


our network infrastructure and work from our storage: how to make each project run smoothly without over- investing and without bottlenecks. There’s a tendency in post and VFX to invest based on the immediate need of the next project and this doesn’t always match with the longer-term business requirement.” comments Dobree


Realising the vision Jellyfish Pictures has experienced extremely rapid growth over the past few years, with projects demanding more compute and the very best talent. Phil Dobree explains,”If we had remained with the traditional on-prem model, we simply wouldn’t have been able to meet our clients’ requirements, both from a capacity and financial standpoint. Having the ability to scale up and down when needed, teamed


with having access to the very best global talent, has changed the game, for not only us but for the whole industry.” Taking the step from virtual studio


to fully global virtual operation is no easy feat. Jellyfish Pictures worked with pixitmedia, Teradici, and [RE] DESIGN to realise this vision: Teradici’s PC-over-IP (PCoIP)


technology and Cloud Access Software provides the secure backbone for remote workstation sessions between artist and workstation across all configurations; Teradici Cloud Access Software generates an encrypted PCoIP pixel stream terminated by a compliant endpoint device such as a PCoIP Zero Client at the desk. This ensures data never leaves the Jellyfish Pictures infrastructure and the security works in exactly the same way as it would in the studio. There is no way data can be passed on, downloaded, or accessed. [RE]DESIGN developed a


packaging system that integrates the Autodesk Shotgun Production Management, Tracking and Review platform with DCC applications, enabling the studio to extend their Production Pipeline, workstations, and infrastructure resources across any private cloud data center or public cloud region at the push of a button. This enables Jellyfish production


“Jellyfish have been working with pixitmedia for nearly 10 years. They have been on this journey with us, enabling us to grow and become the studio we are today. ” Jeremy Smith CTO, Jellyfish Pictures


teams to manage their projects within the Shotgun interface, assign tasks to any global artist, and deliver their files and software packages for execution, directly within the Shotgun template. Users don’t need to manage files, as data management is automated through workflow triggers within Shotgun. Files are kept in sync from delivery to a location, to submission


for reviews, to data protection, and archival at the primary hub. All content resides on the


award-winning pixitmedia storage solution pixstor, alongside dynamic data manager ngenea, which allows


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133