Issue link: https://digital.copcomm.com/i/1013519
www.postmagazine.com 33 POST AUGUST 2018 REMOTE COLLABORATION production assets to all permitted departments and stake-holders. Today DFT has evolved into an IT and security lo- gistic provider, vetting and building relationships with ISPs and last-mile providers for the benefit of our cli- ents. We even help other post companies connect to our clients because security, collaboration and access to camera footage increases production efficiency exponentially. PostHost extends our network and our post services to any location, and ties together every remote post system DFT deploys. Wrecked production chose to shoot in Fiji because the production was able to rent out an entire beachside resort, which offered production space, housing for cast and crew and a "deserted" beach location all in one. Fiji, however, has some of the most expensive Internet in the world. Even with a 50-percent Fijian government tax rebate, the 100MB up and down pipe DFT secured still cost around $11,000 per month. Remarkably, that pricing was cheaper than a month's worth of overnighting hard drives of media or round-tripping someone to hand-deliver those drives. Wrecked shoots on ARRI Alexa cameras to ProRes 444 Log-C. In concert with PostHost's real-time monitoring and auditing of all file trans- missions, DFT utilizes Aspera FASP transfer soft- ware to move media. Aspera uses one port of TCP (Transmission Control Protocol), which controls and error-checks the data stream, and one port of UDP (User Datagram Protocol) to do the actual file deliv- ery. UDP does not error-check. Splitting the duties results in faster delivery of large packets of data. We're moving anywhere from 800 Gigs to over a Terabyte a day. For DFT's remote dailies system, we leverage DaVinci Resolve to transcode, sync and de- liver best-light dailies, and use Resolve for conform and final color grading as well. PostHost is also deployed to Turner Broadcasting offices in L.A. and Atlanta, to the show's editor, who started in Fiji then moved to London during the season, and to the assistant editor at the Wrecked L.A. production office. Within 12 hours of produc- tion wrap, editorial has dailies on their SAN. All they have to do is fire up their Avids, open their synced bins and they are off and working at 6 a.m. This re- mote workflow is a huge time saver, and production, DP and DIT have their preview reels to see how their material looks. In color grading best-light dailies for instance, our colorist Rick Dalby opens Resolve and clicks "play." DP Rob Kitzman in Fiji sees his camera raw footage play. The footage isn't streaming, which would require a lower resolution transcode to facilitate. Rather, we have the native camera raw footage in Fiji as well as on DFT's object stor- age solution, ProStack. Allowing all departments secure access to camera raw footage is what ProStack facilitates. Our goal is to be as pure to your camera original as possible. Geography is no longer an impediment to pro- duction innovation. DigitalFilm Tree's IT logistics, software solutions and remote services brings the entire post process to where you are. HOW IS REMOTE TECHNOLOGY CHANGING POST? By Rory McGregor CEO Cospective Glenside, South Australia https://cospective.com Since 2000, tools like Cospective's CineSync have had a huge impact on how productions are tackled. CineSync was originally crafted in response to the challenges faced by Australia VFX house Rising Sun Pictures, at a pivotal time during which the studio was working simultaneously on Superman Returns and Harry Potter and the Goblet of Fire. Being based in Adelaide, and well outside of US and UK time zones, RSP only had a brief window for review and approval discussions each workday. Feedback needed to be clear, concise and immediate. CineSync was born. Created over a weekend — and in its nascent form being little more than a chat room and QuickTime player mashed together — CineSync has since grown into an industry-standard remote collaboration tool. But its influence has gone beyond enabling closer, more visual collaboration on content. The core of CineSync's premise — con- necting creative minds over vast distances — has reshaped the way supervisors, producers, directors and editors approach projects from start to end. YOUR LOCATION NO LONGER MATTERS Today's industry is more global than ever before, with flagship projects straddling numerous loca- tions and post production companies contributing diverse skills from across oceans. Thankfully remote Avengers: Infinity War Thor: Ragnarok Game of Thrones