Computer Graphics World

Edition 1 2020

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e d i t i o n i , 2 0 2 0 c g w 3 however, where we have full understand- ing and cooperation from our clients. In- ternet bandwidth is also proving to be a constraint, and we expect this to remain an issue as more and more people stay home to work (and stream!)." Slow, like many others, is hopeful that the disruption will be relatively short-lived. However, Slow points out that the studio is a little concerned that the delays in live shoots will also impact them later in the year. "We predict that there will be increased demand for vir- tual shoots during the second half of the year, and are gearing up to execute this in the coming weeks," he says. To this end, thank goodness for the technology that the M&E industry has advanced over the past years. Many artists are connecting to servers, while others are using powerful mobile work- stations. And, more and more studios have instituted a cloud-based infra- structure using Amazon Web Services (AWS) or Google Cloud Platform (GCP), for instance, enabling them to continue with their tasks no matter how complex, such as rendering or even simulations. Even soware is available in the cloud or accessed remotely. It is early times, and companies are still in the process of getting settled into this new norm. And no doubt we will see many soware and hardware companies adjusting their compasses to support this new workflow. rack took the lead and began offering its remote collaboration tool rack Re- view, used by many, for free through May 31 in response to the COVID-19 outbreak, as the company "hopes to encourage business continuity in the creative sector through the current unpredictable situa- tion." Others are doing so, too. Foundry, for instance, has closed all its offices and moved its staff to a work-at-home model and stated it does not foresee any negative impact on its support service. It also published an ar- ticle (www.foundry.com/insights/cloud/ working-remote-foundry-tools) to ex- plain options while facilities transition their artists to a remote workforce. (Foundry is suggesting that for most studios, the easiest solution is to use a VPN, which requires no change to their Foundry licensing.) It has also reset its trial database, enabling all to access a new 30-day trial for all its products, and continues to offer unlimited non-com- mercial uses of its Nuke and Mari so- ware. Students unable to attend school or can no longer access school facilities, meanwhile, can get a year of free access to Nuke, Modo, Mari, and Katana. Lastly, Foundry is switching many of its planned events to online. Digital Domain, meanwhile, has im- plemented a Work From Home (WFH) initiative across its three North American studios, to be a fully operational remote visual effects studio. "Currently, all pro- ductions are carrying on, and our DDers are committed to producing the caliber of work we are known for and expected by our clients. Our teams have worked tirelessly to deploy secure soware and hardware solutions that will allow all of our employees in Los Angeles, Vancou- ver, and Montreal to work safely from home," says John Fragomeni, Digital Domain president. Indeed, our industry is very fortunate to be part of the tech evolution, putting us ahead of the curve compared to many other segments of the workforce. 3/20. Perhaps some of the brightest news for the industry came when Netflix announced that it has established a $100 million fund to assist workers of film and television productions that have shut down due to the outbreak, as many cast and crew members have lost work and income during this time. 5/1. Who knows what will be happen- ing at this point in time. Until then, be a good friend, neighbor, and colleague. We will get through this. Will working re- motely be our new norm? Perhaps. And if so, we will adapt, as we have over the past several years with our ingenuity and technology. Be safe, and be well. Keep up to date as the industry adjusts to the pandemic, with ongoing coverage at www.cgw.com. 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