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POST PRODUCTION THE FUTURE OF POST PRODUCTION CONTINUED One such technology for Rip and his team is the Cintel scanner, which processes 1.5 gigabytes of data per second to digitize 4k film directly into Resolve, so that post teams can go straight into colour correction and mastering work without wasting time on slow file copying after scanning. A few years ago, the scanner was 20 times the price it is today. responding to, and I think that’s set to be a key requirement going forward, especially with the increasing number of delivery platforms that now extend way beyond traditional broadcast. YouTube is a prime example. Towards the end of last year, it rolled out support for HDR. And so now, any creator can upload HDR video to YouTube. “It’s these technologies that are making film as a medium both faster and more cost effective than ever before,” O’Neil concludes. “Ultimately, the exciting thing about the future with this is not the idea of digital dying out, but of filmmakers being able to have more options. Completing a movie is a creative process, and it’s a great thing to be able to ensure more filmmakers have access to both digital and film as potential tools with which tell their stories for a very long time.” I fully expect that we will see HDR delivery ramp up during 2017. While SDR remains the delivery format of choice, more and more productions are now delivering in HDR also as they look to make it more marketable for international distribution. And with the likes of Netflix and Amazon already transmitting a selection of shows in HDR, it is only a matter of time before the rest of the market follows suit. THE JASON BOURNE EXPERIENCE Jason Bourne was a gritty, atmospheric looking film, with the filmmakers wanting to keep the same mood for the HDR grade,” explains Pizzey. “We took the decision to replicate the REC 709 grade with a slight contrast and highlight tweak throughout. Once Bourne arrived in Vegas we took advantage of the extended dynamic range especially in the night car chase. The extra detail in the highlights was amazing.” The business model for post has changed, and along with any change that comes with a degree of pain, and also resistance. It’s not enough to carry on doing things the way you have always done them. You to embrace change. With fewer barriers to entry in terms of hardware and software costs, the market continues to open up to bright, new talent. What’s truly exciting is when you see the outcomes of this talent and the innovation in the sector. This was no more evident than at the recent RTS Craft and Design Awards and I fully expect we’ll see plenty more. THE MANUFACTURER’S VIEW: AN INTERVIEW WITH SIMON WESTLAND What are the main challenges you feel are coming up in the world of post for the future, from the point of view of the manufacturer? Could you tell us more about what it’s been like this year from the point of view of a manufacturer within the post production industry? It’s great to see so many innovations in post over the past year and how the industry is responding to these. We’ve noticed more and more incredible rigs being built to incorporate virtual reality productions, so that anyone, anywhere in the world, can put on a VR headset and experience an event like a fashion show or even the Oscars, first hand. HDR is another topic that post companies are 40 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 121 January 2017 What are you most excited about in terms of post-production heading into 2017, and why? As a manufacturer it’s important that we always remain ahead of the curve and anticipate the needs of customers. Whether that’s IP and fibre for moving material around a facility, or providing them with the software tools necessary to realise their creativity. If anything breaks a post workflow that can cost users time and money whilst also causing them pain. As such, we are always conscious of this in the product decisions we take. As a company we were founded from the post production industry and it is therefore something we’re incredibly passionate about.