search.noResults

search.searching

saml.title
dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
THE EVOLUTION OF POST PRODUCTION


POST


– to make our clients’ time with us as valuable from a creative point of view as possible.” The Farm is investing in technology to make its


non-linear offline estate both highly scalable and highly resilient. “As we move towards virtualised edit instances, we can leverage our footprint in the UK to provide greater availability and durability, all transparent to the end user,” says Swan. “The scale and architecture of our network infrastructure means that we’re now able to allow clients to edit with content from a studio show, for example, while the record is still ongoing. This, coupled with a drive to migrate many of our backend internal and client- facing apps to the cloud means that we can scale with demand to meet the needs of productions of any size.” Janek Lender, Head of Visualisation at NVIZ, has


over 15 years of experience of working in Previs, Virtual Production and Visual Effects, and feels post production is still a relevant stage of the workflow. “But more and more, some of the post production tools and skill sets are being deployed earlier in the production process in order to aid the editorial process,” he says. “Using realtime workflows for Previs and also through to Postvis, is one way of increasing


the efficiency and tying together the developmental stages of the filmmaking process.”


MOVING TO THE CLOUD As we’ve already seen, The Farm is exploring more virtual versions of post. “Our approach to the cloud is to migrate parts of the pipeline that truly benefit from being re-factored in the cloud, where we can make use of built-in services to minimise overheads,” says Swan. “It’s not about migrating data and compute- hungry workloads to the cloud as much as identifying areas of the pipeline that are less dependent on on-prem resources and re-architecting them for the cloud.”


“Some of the post production tools and skill sets are being deployed earlier in the production process”


Bottom left: Nviz worked on Netflix drama The Irregulars


Bottom right: Framestore worked on Netflix’s Cowboy Bebop


Winter 2021 televisual.com


75


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  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140