Will Strauss looks at post production in 2014


Will Strauss# TV-Bay Magazine
Read ezine online
by Will Strauss
Issue 85 - January 2014
Despite being named in Americas Top 10 Dying Industries in 2011, post-production still very much has its place in the UK. But it is changing. And fast.

With increasingly commoditized and affordable technology allowing pretty much anyone (within reason) to do post-production, the lines between production and post continue to blur.

At the same time, as workflows change and TV folk seek out new ways of being ever more creative, the traditional model of using a large hardware-filled facility resplendent with armies of permanent staff and vast picture and sound suites is no longer suited to the budget or creative taste of every client (or every post company owner for that matter).

Of course, the technical expertise required for certain types of shows and for QC, audio finishing, media management and programme delivery means that the post facility will be with us for many years to come but some parts of the chain, notably a number of the craft elements, are evolving with new ways of working emerging.

One of these is what you might call remote working. Its not so much the euphemistic working from home (although that is relevant) but rather members of the production team using technology to allow them to dovetail on a project in locations that are removed from the media, the suite, the facility or each other: be it on the other side of the world or down the corridor.

Let me give you an example. When ITVs northern operation moved from Quay Street in Manchester to MediaCityUK in Salford , the broadcasters in-house post facility adopted a more elegant and flexible way of working based around the mantra of work wherever, whenever.

The key to this, according to technical manager Taig McNab, was unlocking the space from the task. So, working with systems integrators Root6, they came up with an infrastructure that allowed any technology to be used in any suite or room.
Why do you have to edit in an edit suite? asked McNab. Why cant you edit in a meeting room if you want to? That drove quite a lot of the infrastructure decisions.

The secret ingredient was Amulet Hotkeys zero client, a KVM (Keyboard, Video and Mouse) technology that allows a user to access and use any of the hardware and software in the machine room from a single interface at their desk.

Originally adopted by the financial community, it enables users to access multiple systems from a single interface over a network connection without operators and, more importantly, the operating system or application being aware that it is being used from afar.

Clearly you cannot do a grading session in the canteen, says McNab but, where it is appropriate, staff can work where they feel most comfortable and feel most productive.

This type of post-production flexibility can go way beyond the walls of a facility too.

Cloud-based video management and collaboration platforms such as Mediasilo are allowing members of the production team to access footage from anywhere and use this as the basis for their work.
For Manchester-based drama indie Red Production Company for example, this technology has allowed audio tracklayers to work from home.

I think that is going to change again in the next few years and enable picture editors to be able to work from home for at least some of the periods of the post-production cycle, explains executive producer Tom Sherry. [It could also open] new doors for us to work with international editors and attract international directors who could do some post at home.

Aframe - the omnipresent cloud platform for collecting, managing and storing video - also allows for this work anywhere-style sharing and reviewing workflow but also adds some editing options too.

Via its Edit Flow feature users can export their timecode-specific metadata out of Aframe and directly into Avid Media Composer, Apple Final Cut Pro or Adobe Premiere. Once there, the metadata relinks with the original media retaining all user changes automatically.

Remote editing is also possible using Adobe Anywhere and Avids Interplay Sphere.

Requiring only a NewsCutter or Media Composer license and an Internet connection to an Interplay Production workgroup, Interplay Sphere connects multiple remote editors at the same time, allowing them to combine locally shot footage with material on the Interplay Production system. Ideal for news production, it uses proxies when faster speeds are required.

Adobe Anywhere, on the other hand, relies on centralized clustered storage and allows a remote editing station to access Premiere projects over a LAN or VPN with the media streamed to the workstation or laptop using the Mercury Streaming Engine, an innovation that negates the need for proxies by adapting resolution to match the available bandwidth.

Quantels QTube is another consideration, especially for news, enabling content creators, administrators and managers to interact with their content wherever they are and wherever their content is located.

At the slightly less expensive end of the scale, Forbidden Technologies long-established FORscene offers the ability to log, edit, review and publish content via any Internet connection.
Picture editing and audio track laying are not the only disciplines that can be done remotely. Grading anywhere is also possible.

Yes, it can be a standalone process with the colorist working independently. Or, if the project is being graded on Blackmagic Designs Da Vinci Resolve, clients can watch a grade in real-time while the colour correction is happening in a completely different location.

To do this, two DaVinci Resolve systems with identical material are synchronized over the web and all changes made by the colourists system are sent across in near-as-damn-it real-time and applied on the other. Skype can then be used to chat about the project as if both people were in the same room.

Various UK facilities including The Mill, MPC and The Look offer this and other similar types of service with the latter also teaming up with Sumners in Salford to offer grading at MediaCityUK.

With the client doing the prep and the footage upload, The Looks managing director and senior colourist Thomas Urbye points to the potential cost and quality savings that are possible working this way.

A lot of production companies either use their in-house editors or a freelance colourist on a day rate, he says. These are often not dedicated colourists and the results are not as good as you get from one of the colourists here at The Look.

Freelancers are usually booked on a day rate, and this can be complicated if your client makes changes to the edit as the grade can be delayed and freelancers can bill for these last minute re-bookings we can work by the hour.

Remote, flexible working doesnt suit everyone or every production. But as post-production continues to evolve - and the industry become increasingly mobile and global - it is one of the options that will almost certainly become commonplace.


Tags: iss085 | will strauss | review | editing | remote | grading | software | internet | storage | cloud | work from home | post production | guide | Will Strauss#
Contributing Author Will Strauss#

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  • Clear-Com: Tempest at NAB 2013

    Clear-Com: Tempest at NAB 2013

  • Autocue at NAB 2013

    Autocue at NAB 2013

  • Camera Corps at IBC2011

    Camera Corps at IBC2011

  • Bradley at IBC2011

    Bradley at IBC2011

  • Digital Vision on BroadcastShow LIVE at IBC 2013

    Digital Vision on BroadcastShow LIVE at IBC 2013

  • Cintel at IBC2011

    Cintel at IBC2011

  • Image Systems at IBC2011

    Image Systems at IBC2011

  • Elemental Technologies Software-Defined Video at NAB 2014

    Elemental Technologies Software-Defined Video at NAB 2014

  • CueiT Software from CueScript at NAB 2018

    CueiT Software from CueScript at NAB 2018

  • Mobile comms from Clear-Com with LQV4 software and Agent-IC shown at BVE 2018

    Mobile comms from Clear-Com with LQV4 software and Agent-IC shown at BVE 2018

  • Facility Management Software from Xytech at NAB 2017

    Facility Management Software from Xytech at NAB 2017

  • Media Asset Management Software from Blue Lucy at NAB 2017

    Media Asset Management Software from Blue Lucy at NAB 2017

  • Singular Software at NAB 2012

    Singular Software at NAB 2012

  • Elemental Technologies HEVC solutions at NAB 2014

    Elemental Technologies HEVC solutions at NAB 2014

  • Elemental Technologies Multiscreen Solutions at NAB 2014

    Elemental Technologies Multiscreen Solutions at NAB 2014

  • Cambridge Imaging Systems on BroadcastShow LIVE at IBC 2013

    Cambridge Imaging Systems on BroadcastShow LIVE at IBC 2013

  • TMD talk workflow on BroadcastShow LIVE at IBC 2013

    TMD talk workflow on BroadcastShow LIVE at IBC 2013

  • ROOT6 Technology at NAB 2016

    ROOT6 Technology at NAB 2016

  • Cinegy at NAB 2016

    Cinegy at NAB 2016

  • Dejero at NAB 2016

    Dejero at NAB 2016

  • Cinegy at NAB 2014

    Cinegy at NAB 2014

  • Metus Ingest at BVE 2014

    Metus Ingest at BVE 2014

  • Canon on BroadcastShow LIVE at IBC 2013

    Canon on BroadcastShow LIVE at IBC 2013

  • Cinegy on BroadcastShow LIVE at IBC 2013

    Cinegy on BroadcastShow LIVE at IBC 2013

  • Nexidias Drew Lanham on BroadcastShow LIVE at IBC 2013

    Nexidias Drew Lanham on BroadcastShow LIVE at IBC 2013

  • Metus on BroadcastShow LIVE at IBC 2013

    Metus on BroadcastShow LIVE at IBC 2013

  • Pilat Media on BroadcastShow LIVE at IBC 2013

    Pilat Media on BroadcastShow LIVE at IBC 2013

  • Snell on BroadcastShow LIVE at IBC 2013

    Snell on BroadcastShow LIVE at IBC 2013

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • Wyplay on BroadcastShow LIVE at IBC 2013

    Wyplay on BroadcastShow LIVE at IBC 2013

  • Wowza Media Systems on BroadcastShow LIVE at IBC 2013

    Wowza Media Systems on BroadcastShow LIVE at IBC 2013

  • Broadstream Solutions on the Oasys stand at IBC 2013

    Broadstream Solutions on the Oasys stand at IBC 2013

  • Oasys Chameleon at IBC 2013

    Oasys Chameleon at IBC 2013

  • Loft London Solutions with Cubix on the Oasys stand at IBC 2013

    Loft London Solutions with Cubix on the Oasys stand at IBC 2013

  • Datacolor Spyder on the Atomos stand at IBC 2013

    Datacolor Spyder on the Atomos stand at IBC 2013

  • Metus MAM and Ingest at IBC 2013

    Metus MAM and Ingest at IBC 2013

  • Blue Lucy Media at IBC 2013

    Blue Lucy Media at IBC 2013

  • Clear-Com: Concert at NAB 2013

    Clear-Com: Concert at NAB 2013

  • Clear-Com Eclipse HX at NAB 2013

    Clear-Com Eclipse HX at NAB 2013

  • Quantel Pablo Rio at NAB 2013

    Quantel Pablo Rio at NAB 2013

  • Brainstorm Multimedia: Aston3D at NAB 2013

    Brainstorm Multimedia: Aston3D at NAB 2013

  • IMT at NAB 2013

    IMT at NAB 2013

  • Telestream at BVE 2013

    Telestream at BVE 2013

  • Autocue at BVE 2013

    Autocue at BVE 2013

  • Blue Lucy Media at BVE 2012

    Blue Lucy Media at BVE 2012

  • Haivision at NAB 2012

    Haivision at NAB 2012

  • Object Based Storage Solutions from Object Matrix at NAB 2017

    Object Based Storage Solutions from Object Matrix at NAB 2017

  • Facilis Technology Shared Storage at IBC 2018

    Facilis Technology Shared Storage at IBC 2018

  • All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

    All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

  • Object based Storage Solution from Object Matrix at IBC 2017

    Object based Storage Solution from Object Matrix at IBC 2017

  • Glyph External Storage including the Studio and Atom raid at IBC 2017

    Glyph External Storage including the Studio and Atom raid at IBC 2017

  • Storage DNA at BVE 2016

    Storage DNA at BVE 2016

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • ERA at BVE 2014

    ERA at BVE 2014

  • ERA Avere at BVE 2014

    ERA Avere at BVE 2014

  • Front Porch Digital on BroadcastShow LIVE at IBC 2013

    Front Porch Digital on BroadcastShow LIVE at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • Facilis at NAB 2014

    Facilis at NAB 2014

  • GB Labs Space at NAB 2014

    GB Labs Space at NAB 2014

  • Sonnet Technologies on BroadcastShow LIVE at IBC 2013

    Sonnet Technologies on BroadcastShow LIVE at IBC 2013

  • EditShare on BroadcastShow LIVE at IBC 2013

    EditShare on BroadcastShow LIVE at IBC 2013

  • Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

    Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

  • NOA Audio Solutions at IBC 2013

    NOA Audio Solutions at IBC 2013

  • Global Distribution with mLogic at IBC 2013

    Global Distribution with mLogic at IBC 2013

  • SGL at NAB 2013

    SGL at NAB 2013

  • Object Matrix at BVE 2013

    Object Matrix at BVE 2013

  • Facilis Technology at BVE 2013

    Facilis Technology at BVE 2013

  • Editshare at NAB 2012

    Editshare at NAB 2012

  • Nexsan at NAB 2012

    Nexsan at NAB 2012

  • Arkivum at BVE 2012

    Arkivum at BVE 2012

  • Facilis at BVE 2012

    Facilis at BVE 2012

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • Suitcase TV at IBC2011

    Suitcase TV at IBC2011

  • Sonnet Technology at IBC2011

    Sonnet Technology at IBC2011

  • ATTO Technology at IBC2011

    ATTO Technology at IBC2011

  • The Teracue Application Cloud show at IBC 2018 (German version)

    The Teracue Application Cloud show at IBC 2018 (German version)

  • The Teracue Application Cloud show at IBC 2018

    The Teracue Application Cloud show at IBC 2018

  • Blue Lucy with BLAM3 and their very own cloud at IBC 2018

    Blue Lucy with BLAM3 and their very own cloud at IBC 2018

  • Playbox Cloud Air at IBC 2107

    Playbox Cloud Air at IBC 2107

  • Cloud Media Management with Medway from Marquis Broadcast at IBC 2017

    Cloud Media Management with Medway from Marquis Broadcast at IBC 2017

  • Hybrid Cloud Media Aggregation from Cantemo at NAB 2017

    Hybrid Cloud Media Aggregation from Cantemo at NAB 2017

  • Elemental Technologies cloud innovations at NAB 2016

    Elemental Technologies cloud innovations at NAB 2016

  • Haivision: Video Cloud at NAB 2013

    Haivision: Video Cloud at NAB 2013

  • Be More with Clear from Prime Focus Technologies at NAB 2017

    Be More with Clear from Prime Focus Technologies at NAB 2017

  • Prime Focus Technologies at NAB 2016

    Prime Focus Technologies at NAB 2016

  • Haivision on BroadcastShow LIVE at IBC 2013

    Haivision on BroadcastShow LIVE at IBC 2013

  • Haivision live encoding HEVC at IBC 2013

    Haivision live encoding HEVC at IBC 2013

  • Tedial at NAB 2013

    Tedial at NAB 2013

  • Chyron at NAB 2012

    Chyron at NAB 2012

  • TSL at BVE 2012

    TSL at BVE 2012

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • SGO at IBC2011

    SGO at IBC2011

  • Guided Tour of the Polecam Stand at BVE 2016

    Guided Tour of the Polecam Stand at BVE 2016

  • Guided tour of the Global Distribution Stand at BVE 2016

    Guided tour of the Global Distribution Stand at BVE 2016

  • Guided tour of the Holdan Stand at BVE 2016

    Guided tour of the Holdan Stand at BVE 2016

  • Triveni Digital at NAB 2012

    Triveni Digital at NAB 2012


Related Shows
  • StorageDNA LIVE at BVE 2016

    StorageDNA LIVE at BVE 2016


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Sony HDC-4800 Review
Andy McKenzie First announced at NAB 2016, the Sony HDC-4800 is a studio camera system capable of shooting 4K/UHD at up to 8x or full HD at up to 16x. With a price point upwards of £250,000 it is a very high-end product with a wide feature set. In Sony's own words, "This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.” Deliveries began in mid 2017 and, after careful preliminary evaluation, we invested in several systems for our hire fleet ahead of the FIFA World Cup in Russia.
Tags: iss134 | review | hdc-4800 | sony | finepoint | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
University and Mental Health
Rhiannon Jenkins University study and mental health has been in the media quite a bit over the last year, and I’m sure there are many people wondering what is going on? The issues are complex, and I suppose the focus of employability off the back of a degree course has raised the stress stakes for a lot of young people. I’m only qualified to talk about this from my perspective, and my story began when I joined a course not knowing I had a mental health condition.
Tags: iss134 | portsmouth uni | mental health | student | tvfutures | Rhiannon Jenkins
Contributing Author Rhiannon Jenkins Click to read or download PDF
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Giving Welsh sport a global audience
Adam Amor From the Ospreys Rugby Union team, to the Football Association of Wales, as well as national cycling, swimming and boxing coverage, Port Talbot based Buffoon Film and Media has been heavily involved in putting Welsh sports on the world stage.
Tags: iss134 | blackmagic | atem | buffoon | micro studio camera | Adam Amor
Contributing Author Adam Amor Click to read or download PDF
GoPro HERO 7 Review
Tim Bearder When I heard I was filming a nature restoration project in the pouring rain this week I was excited. WHY? No Cameraman enjoys the rain, surely but this time I was enthusiastic because I knew this would be the perfect opportunity to try out the brand new GoPro Hero 7 Black Edition.
Tags: iss134 | gopro | hero 7 | review | liberal media | Tim Bearder
Contributing Author Tim Bearder Click to read or download PDF