REMOTE POST PRODUCTION
POST PRODUCTION
T
he pandemic has created a stronger ‘data gravity’ in the home than ever before. Colourists, editors and VFX artists as well as creative
executives in the review process are connecting from home. There are two main approaches
to supporting remote workflows: In one, the creative hardware resides in a facility and is accessed remotely via a device at home (a virtual desktop infrastructure). In the other, the hardware is ‘virtualised’ using compute power from a cloud provider. The former is by far the most
prevalent. To remotely connect to the facility’s edit suites, all that is required is an internet connected device with a software client installed. For post houses or production companies with inhouse post facilities it is relatively easy to take all the (Windows not Mac) computers normally connected by USB, VGA or HDMI and transform the media on them into packetised data for sending over the internet. KVM over IP technology is the
most efficient and lightweight method of doing this and it works externally just as well internally. It’s a system that resellers and consultants like Jigsaw24 have been implementing for years for
clients including IMG and ITV. “Essentially you are transforming
the content held on a dedicated computer into data for access by any certificated desktop typically using Teradici PCoIP technology,” explains Rupert Watson M&E Sales Director, Jigsaw24. “A software broker (e.g. Leostream) works in tandem with Teradici to allow facility administrators to control access to each machine. Since you are extending the distance between a computer and a zero client you can also enable this for any artist working at home. An editor working from home in Norwich, for example, would have the exactly the same experience as if they were in a facility.” A minimum 2-5Mb download
speed (with latency of less than 40ms / 1 frame) is required to work efficiently with continuous playback or editing of media, according to EditShare. That’s whether the connection is via VPN or the cloud. The addition of video conferencing
tools like Teams or Zoom mimic an edit bay experience where a director looks over the shoulder of the editor. Clear Cut recommend a cabled
connection (from the device to the home router) rather than WiFi but say both options work. “The beauty of it
is that the heavy lifting is being done on the facility’s resources and not the user’s home device which is simply a portal to access those resources,” says Jess Nottage, Operations & Technical Director. Nonetheless, if you’re a colourist,
online editor or dubbing mixer WFH can still be a challenge due to the nature of the technical kit and controlled environments necessary for optimal results. “Even with the advanced
capabilities to WFH, colourists and dubbing mixers will always prefer to attend the facility for finishing and final sign off,” says Nottage. “We have some sophisticated home suites among our teams but nothing matches the precision of working in a purpose-built controlled environment.”
WFH colourist There are a number of options for remote grading. Streambox is able to compress 10-bit and 12-bit streams of RGB using its own codec ACT-L5 for playback with its own decoder. Netflix use the system to sign off in LA on shows graded in London. Sohonet offers Clearview Flex
which supports 2K resolution at 8-bit 4:2:0 chroma, with around 2-5 video
frames of delay. That’s about as close as your team can get to watching a monitor over the editor’s shoulder – without physically being in the same room.
It is beta testing a release to
support 5.1 surround sound and for 10-bit colour depth for playback on Apple TV. Moxion, a New Zealand-based
developer, has just announced support for Dolby Vision HDR, the first company to do so as a remote dailies workflow. Hugh Calveley, CEO of Moxion points out that the major streamers require deliverables in Dolby Vision HDR. He says, “Covid has forced the industry into innovating
“colourists and dubbing mixers will always prefer to attend the facility for finishing and final sign off”
Autumn 2020
televisual.com
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