REMOTE COLOUR GRADING Remote colour grading has always been a difficult technical challenge because of the large bandwidth required to leverage ‘critical review’ quality video throughout the workflow process. As a consequence, most of the industry has deployed creatives at home with remote access to Blackmagic Design’s DaVinci Resolve or FilmLight’s Baselight products. Typically, there is some content that has been synchronised to the workstation at home, allowing creatives to see changes that they deploy in real-time on the monitors in front of them. While these machines are typically connected via VPN back to the office (where the synchronisation occurs), local content in the home does need to be protected. A professional-grade firewall is highly recommended to segregate the home environment from the creative environment – and protect content from cyber criminals. Bandwidth is a bigger challenge. The most common workflow for real-time collaboration is to connect a ClearView Flexbox to the colourist workstation at the office, allowing high quality reviews to be pushed to other viewers. For example, Santa Monica facility Arsenal FX regularly enabled remote collaboration by connecting screening rooms at client offices with the colourist driving the session. When quarantine came into force, Arsenal FX issued colour kits for critical review including a Sony 24-inch OLED, an Apple TV loaded with the ClearView Flex App. “We enabled the client to view a colour calibrated image with no delay and fantastic picture fidelity,” says Josh Baca, Conform Artist, Technologist and Partner. “The ability to use an iPad or laptop to
connect everyone remotely to the same stream using ClearView Flex was invaluable.” The team are also
performing VFX editorial, QC, title sessions and other finishing workflows. “Anything a client would normally come into our studio for we are able to accommodate over ClearView Flex,” says Baca. Some colourists must work in J2K, or need 4:4:4 colour chroma, or the highest possible quality that their bandwidth will allow. As a result, Sohonet has also launched an option for colourists WFH that supports higher quality critical reviews. In this setup, the colour workstation at the office is connected to a ClearView Pivot unit, which streams a compressed version to a Pivot Lite unit in the home. While 2K workflows can be conducted at extremely high quality (4:4:4 12-bit) and 4K workflows can also be conducted at critical review output (4:2:2 10-bit), the bandwidth required to facilitate this workflow is 100- 200 Mbps down to the home. If the schedule doesn’t permit, or the home bandwidth is insufficient to conduct a real-time ‘over-the-shoulder’ session via ClearView Flex or ClearView Pivot Lite, then a strong alternative is the Moxion Cuts workflow. The final ‘cut’ of the feature or episode can be uploaded into the Moxion platform and streamed (with buffering) to an Apple TV or iPad Pro, allowing for the review to take place remotely. Coming soon is the ability to remotely control the playback of the Moxion Cuts session, to allow the presenter (likely the colourist) to pause and play the content while others are viewing. This enables a scene-by-scene review, with appropriate pauses for discussion and note taking.
REMOTE FINISHING & SCREENING Previously, when the final version of the feature or episodic had finally come together, the key parties would gather in a darkened screening room. This would typically include the director, cinematographer, post and visual effects supervisors, colourist, editor, executive producers and other creative executives from the distribution studio. They would review the content, pausing to give notes, comments and directives. But even the largest of studio theatres can only support a handful of viewers with appropriate social distancing. With new best practice concepts, where teams of creatives never come in physical contact with each other to prevent wholescale team infection, we have to design a new way to review together while being physically separate. Taking advantage of ClearView Pivot’s one-to-many real-time streaming architecture, your post production supervisor can work with the studio post team to establish a multiple screening room approach. In this scenario, two or three different teams of creatives can watch the content from separate screening rooms across campus, around town or even in different countries. The editor can play and pause the content at will, with every screening room seeing exactly the same frame at the same time. Firing up your preferred conferencing tool allows everyone to comment when the content is paused but move quickly back to professional immersion once playback is resumed.
Contact
sales@sohonet.com to discuss your specific requirements
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