The new solution is designed with integration into post production at its core. With media management and workflow out in the field that mirrors the high standards of ENVY’s facilities back at base, assuring protection and security whilst providing a turnaround that allows edits to be accessing footage sooner - from wherever their edit suite is based.
“As an integrated team, the transition from location to post is going to be a lot quicker,” says ENVY’s Technical Operations Director Jai Cave. “Communication and the management of assets will be a lot more efficient.”
Fixed rigs were once at the cutting edge of production innovation - the tool to get exciting footage you otherwise couldn’t get. In the last few years innovation has been lacking, despite advanced codecs, HDR and UHD becoming prevalent throughout the rest of post.
For Weller, it’s about pushing forward technical innovation beyond this and helping the genre move into the future. “We’d like to be able to offer clients things they haven’t been offered before and maybe that they’ve not even considered previously. The available technology has changed drastically since those first rig records and using it to its fullest is key to our offering.”
ENVY is a multi-award winning Post Production facility providing HD, UHD, 4K, and Dolby Vision HDR picture alongside 5.1, 7.1 and 7.1.4 Dolby Atmos audio studios across 6 sites in Central London.
Ricky Martin
All three of the assembled team come from a post-production background rather than OB background, having previously worked together at Evolutions. They know that alongside all the sophisticated and important media management, there’s a need for organisation and accessibility to the footage that mirrors what happens in the reality of an edit suite.
Toby Weller Elliot Leigh
TECHNOLOGY HAS CHANGED, USING IT TO ITS FULLEST IS KEY TO OUR OFFERING
“Unlike some third party vendors, we have the ability to listen to editors and the producers in suites, and know what they need,” says Martin. “The three of us understand, first hand, the frustrations they can have working on fixed rig projects.”
“These projects are now vast, and hugely complex,” says Weller. “We’ve worked on projects with 20 streams that are shooting 24 hours a day – that’s a lot of media - and then you need to find a clip of a sunset in amongst it. Our solutions will help make that much easier.”
THE CREATIVE OPPORTUNITY
Turning fixed rigs into a high-end creative tool for production once again is a cornerstone of the new CAPTURE solution.
Leigh adds: “Rigs have become more stable and secure – and there are many exciting things that we can now achieve. We are already set for UHD rigs, but we want to be ahead of the curve and offer new, smarter services that we know will benefit productions, not just more codecs.”
The team recognise, that alongside their own experience, the option to call on ENVY’s huge pool of talented creatives, as well as some of the best video and audio facilities in the UK to aid on-set decisions is intrinsic to their new endeavour.
“We want to help bring creativity back into fixed rig productions,” says Martin. “With the talent behind us at ENVY, we can really uplift projects and make them look and sound so much better than anything else out there.
ENVY provides over 200 suites for Off-Line/On-Line editing, Baselight Grading, Sound and 2D and 3D VFX and have recently added 2 new divisions. REMOTE, a brand new platform designed by ENVY to bring Production, Editing On-Site and Editing Remote together and CAPTURE, a new fixed rig division. All this supported by creative and technical teams who thrive on collaborations with their clients.
ENVY has worked on a host of EMMY, BAFTA, RTS, Grierson, and D&AD winners to name a few and regularly work on projects such as Gogglebox, The Voice UK and Top Gear. ENVY’s creative staff has also been honoured with prestigious recognition with numerous awards including RTS and BAFTA.
www.envypost.co.uk
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