THE EVOLUTION OF POST PRODUCTION
POST
Swan says the cloud can also be used to give
legacy data sets - LTO tape is one example he uses - a new lease of life. “Rather than a tape sitting on a shelf and never being touched again, if that data sits in the cloud, we can leverage AI/ML services to provide automatic transcription, facial recognition and so on, which gives that data new value,” he explains. “Another area for cloud growth is automation; if we can build repetitive tasks as code that run at scale with no engineering or operational overhead, we can re-focus those teams on providing better service to our clients.” There’s also a new breed of solutions from the likes
Top left:The Outlaws with post work from The Farm Group
Top right: Amazon’s The Wheel of Time with post work at Framestore
of Blackbird,
Frame.io, and Salon, that allow remote collaboration for editing using shared cloud storage and as such are able to shift the stage forward into a time slot previously only occupied by Dailies. With the cloud and remote working also
comes increased demands around aspects of asset management such as security, storage, speed and collaborative access. “Security is at the forefront of everything we do at
The Farm, protecting our clients’ data must be treated with the utmost importance,” says Swan. “From that footing, we then have tools to allow clients and partners access to their data in a secure way wherever they are, whether on or off-network. “There is a focus currently on the security of assets
and footage, as we are all working remotely, and must remain TPN approved,” says Lender. “Our colleagues in the technical department do a great job of keeping
“There is a focus currently on the security of assets and footage, as we are all working remotely and must remain TPN approved”
all of our data, and the data of our clients safe.” With all the chopping and changing going on, a
colour-managed pipeline is more important than ever. In fact, Chris Spearman, Head of Operations at The Farm Group thinks it’s crucial. “Making time for round-trip tests as a part of the
initial workflow setup is essential to making sure there are no hitches down the line that can impact on deadlines and costs,” he adds. “There are a lot of factors that go in to establishing the specifics of how colour is managed for a particular project, but systems such as ACES are a good example of the industry working towards a standardisation to enable interoperability between platforms and technologies. This ultimately creates flexibility for the parties involved. While already well established in scripted drama and feature film workflows, there is an increasing take-up in unscripted genres especially when it comes to HDR commissions and factoring in multi-format acquisition. The increased support and development of the ACES system and Open-EXR, including storage considerations, will help enable the standardisation of colour workflow across projects spanning a spectrum of genres and budgets.”
VIRTUAL FX The established post and VFX workflow was storyboard, and latterly pre-viz> shoot > edit > VFX > grade/finish and deliver. All very delineated, but according to Lender, the rise of the importance of Previs and Postvis have begun to change this ‘old’ model. “More specifically, the edit is often developing
directly from the Previs cut, and more and more, editors need Postvis in order to be able to push the cut forward and develop the film before handing sequences over to VFX,” he says. “Initially, this has been precipitated by smarter technology in response to old workflows. Then, as its value has been recognised in the workflow, we also see a cyclical process. The more it’s implemented in the workflow,
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