POST BUILDS FOR DRAMA
POST
can build from that in a modular way to support our ambitious growth plans.” All Residence kit is held off-site at a data centre,
with a 40G connection back to the on-site facility. “This is not only great for security reasons, but it means all of Residence and Coffee & TV can be flexible wherever they need to work whether in production, grade, 2D or 3D VFX,” says Julian Nelson, head of post and co-founder. “We have adapted our Baselight 2 system with
Top left:The Pact BBC
Top right: Against the Ice Netflix
high-performance NVMe storage so that [supervis- ing colourist and co-founder] Paul Harrison can grade both on-site and at his home studio,” he continues. “Working in collaboration with the main Baselight suite, we offer Baselight Assist and Baselight Conform so we are never held up along the way. It is important that all critical viewing environments are created equal, so no matter whether it is upstream or downstream of the final grade session, monitoring, lighting and distance from the screen are all the same.” Launched a year ago, Racoon is on a mission to
service productions through one single gateway to post-production tools “where and when clients need them”. “Racoon is currently actively investing in servers,
storage, and software development all housed in very carefully selected commercial data centres, plus a substantial investment in local UHD monitoring for our mastering and review spaces,” says Racoon founder and CEO, David Klafkowski. “We can deliver
“We will continue to see a rise in small ‘virtually equipped’ post and
VFX companies who are designed to serve a few productions at a time”
any of the popular edit/finishing applications but predominantly [we use] Avid with Nexus and Davinci Resolve. “Although we keep all the back-room function
and processing in our data centre, we also offer full-service post facility service with access to our collaboration and final review spaces - physical rooms for the editorial, finishing and mastering of all video and audio. “Our decision to invest in data centres to house
our technology infrastructure means we offer the highest level of content security we have ever [had],” adds Klafkowski. “We support the HETV Drama market by continuing to work in their preferred ‘walled garden’, but with the comfort of knowing they are working within an extremely secure TPN [Trusted Partner Network] environment. Our ability to scale on-demand, cost-effectively, enables clients to flex up and down as they need to.” Klafkowski also notes this kind of post offering is
more sustainable than before, with the “potential to reduce travel and marked power savings across the board.” “We will continue to see a rise in small “virtually
equipped” post and VFX companies who are de- signed to serve a few productions at a time with cloud-based resources driven on an OpEx-only cost model,” predicts Sohonet CEO Chuck Parker. “I believe virtual production will continue to drive
disruption into our production workflow, putting a strong gravity on the need for pre-viz and VFX alignment early in the production planning process, and ultimately requiring more on-set, though remote, workflow presence from post and VFX supervisors,” he adds. “I think we will see the beginning of the ‘real’ shift of cloud-based workflows as Original Camera Footage (OCF) begins to move from set to cloud in near-time, providing the opportunity for other downstream workflows —VFX has been there for some time — starting with dailies and then editorial to originate from the public or private cloud.”
Spring 2022
televisual.com 93
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132
