POST BUILDS FOR THE FUTURE
POST
in the new facility when the pandemic hit, Splice pressed on. MD Richard Folley says the decision to do so was taken against a background of rising appetite for content from streamers and broadcasters.
COME TOGETHER Splice also believes that investing in a new building makes sense, despite the widespread adoption of remote working during the pandemic. “Physical buildings are still important to the entire sector of our industry,” says Folley, who explains that conversations with clients throughout lockdown have often been about their desire to come in and work collaboratively with others on projects. Indeed, many within the post industry
Top left: Full post on the BBC’s Bury: Bringing Football Back was at Coda
Top right: Blast! Films’ Saving Lives at Sea S2 was posted at The Edit
acknowledge that there is an efficiency about working together in the same space on complex projects, and say that in person interaction makes communication more fluid and idea-swapping much easier. Remote working is hugely beneficial in terms of work / life balance, particularly for editors used to long hours – but sometimes it’s necessary to be in the same building as clients and colleagues to talk, assess body language, and feel the mood of the room. “I speak to clients every day, and there is definite
need for a physical facility,” says Folley. “The amount of remote work we do is necessary at the moment. But it won’t always be like this.” However, Folley talks of a “blended future” where
remote working will be combined with inhouse work. Edits might start at home, for example, before moving into facilities. This kind of thinking helped inform Coda’s
decision to open a third site in December, offering full post production over six floors in a new office – Coda 46 - based on Charlotte Street. A fourth site is launching in Brighton this Spring offering full post as well. “Production and post production is a lifestyle industry, full of creative and sociable people,” says Coda commercial director Steve Doran. “And people need to bounce ideas off each other and work
together. Lots of production people I speak to and pretty much everyone at Coda can’t wait to get back to the office.” Doran adds that there are going to be many more
edits taking place remotely in future, particularly around short form content. But for anything bigger, such as series, the media really needs to be in one place so everyone has good access to it. “People need to be able to walk in and out of rooms and talk to people directly. A lot gets missed or lost in translation with emails, WhatsApps and Zooms…It’s much more time effective to have a producer or a director next to you while you’re mixing something to ask them a quick question.” Over at Envy, Cadle is bullish about the need
for post houses too – but also thinks there will be a blended future. Big, high volume, fast turnaround shows are the difficult to do from home, he points out. The Voice, he says, “wants all the team here, they’ve 18-20 rooms, cutting away daily” at Envy. “The one off documentaries will live in the bedroom on the Envy Remote app, and then come in and finish. But you’ll get certain scale jobs like Top Gear where some of the team are remoting in, and then coming in the next day…it’s a hybrid.” Down in Brighton, despite the difficulties of last
year, The Edit has just opened its doors to a brand new facility in the North Laines area. Comprising twenty rooms, the new building houses fifteen offlines, two grading/online suites, break-out areas and three audio rooms including a Dolby Atmos studio. MD Dave Austin says remote editing “has
undoubtedly opened up some exciting possibilities for us all, but I also believe that in many situations, productions benefit greatly from the collaboration, social interaction and immediacy that you get when you work in person – and that’s why we’ve created the biggest facility Brighton has ever had.” Even those post houses that are launching as
remote offerings accept that clients will need a space to view and engage with work. New launch Rascal
Spring 2021
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