SVOD REQUIREMENTS
PRODUCTION & POST
“a big
what you give them. Where others will expect the different versions to come from you,” he adds. “Get the deliverable requirements in as early as possible. If you take on a new vendor or a new network halfway through, we need to see their specs as soon as possible so that we can determine if they need anything different or if it can be derived from the masters that we are already making.” “A big change for producers is
change for producers is the lead time that the streamer wants before delivery”
the lead time that the streamer wants before delivery,” says Urbye. “When we used to do BBC shows, we’d sometimes deliver an HDCAM SR tape a week before transmission (TX). The streamers want it a month beforehand because they redub it for so many territories. All the versions need to be ready to go for an international drop, because that also stops piracy.”
On set considerations “It is important to ensure you allow longer prep time to think through and plan shoots and carry out camera/lens tests,” for factual, says HiddenLight’s
Dorrett. “You need to plan for the fact that you will not be able to film as much in a day as you would on an HD doc, due to longer set up times.” Urbye has some reassurance for
producers concerned about UHD HDR shoots. “Don’t be worried about it, that’s quite important,” says the colourist. “The only thing that tends to come up is making sure that there is the budget to scale-up production design – seeing through windows is a big concern.” So, don’t forget to think outside the set when shooting HDR. “I think the biggest transition is
probably going to be the cost of HDR on-set monitoring,” Urbye says. “Most DoPs still stick
with a standard SDR monitor. But when that starts to shift, you’re going to have those cost implications.” Hand in hand with HDR, the
streamers are particularly hot on colour management. “They want to see that from the start,” says Maltby, and advises producers to have a lot more engagement with the on-set DIT. The Academy Colour Encoding
System (ACES) is becoming popular for colour managed workflows on streaming series, but it’s not a requirement. “I would say only half our shows are ACES,” advises Urbye. “It’s a great tool for multi-format camera, high VFX content because it establishes a known colour space that everybody works to. But if you’re dealing with a drama that has very limited VFX and you’ve only got one camera and you’re shooting 99% of it on that, it isn’t always necessary. You can have a colour managed pipeline with or without ACES.” Metadata is also becoming more
important on set. “If it’s a VFX-heavy show then they’re going to want the tilt, the pan, the zoom, all the information coming off the lens that was used,” says Urbye. “So much more information is
available that can come from the set,” says Woolfson. “DITs can be changing LUTs every day on set. It depends on your setup, the sort of cameras, lenses and the recording technology you’re using, but all of that information can get carried into the files. In the grading process, being able to go back to camera RAW media and look at the metadata can allow you to get shots that you otherwise would not.” That workflow has to be efficiently
managed. On Formula One: Drive to Survive, The Collectv played a vital role in ensuring all data was safely and securely ingested, backed up, logged, transcoded, and sent on to post. “We are the last people to receive the data we need on set to do our job so we need to be quick and we can’t cut corners,” says Sarson. “Whenever you can, take the time for checksums,” he advises. “Communication is key.”
VFX Framestore has created VFX for most of the streamers, including The Crown (Netflix), The Boys (Amazon) and Watchmen (HBO). “We’ve seen a real growth in appetite for this part of our business, with more and more producers talking to us
Spring 2021
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