Q4 2022

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58 C I N E M O N T A G E T E C H By Jennifer Walden C OVID lockdowns may have has- t e n e d t h e a d o p t i o n o f r e m o t e editing, but filmmaking teams are now enjoying the benefits that this new norm provides. That includes minimizing downtime by using time zone differences to one's advantage (as editor Tom Eagles did on "The Harder They Fall," editing in New Zealand while the production team was shooting in Santa Fe) or just saving time by eliminating the commute to a pro- duction office or editing facility. There certainly have been growing pains in the transition to remote editing, but it's be- coming easier to embrace this workflow as the process evolves. One company improving the experi- ence of remote editing and decentralized creative collaboration is Remote Picture Labs (RPL;, based in Burbank, California. In the early days of lockdown, J/KAM Digital (a company spe- cializing in production and post-production equipment delivery, setup and technical support) joined forces with Creative Mobile Solutions (which specialized in tapeless workflows for live events and studio-based shows) to form Remote Picture Labs RPL. By leveraging their years of experience in both equipment rental and cloud-based media storage and sharing, RPL devised a highly efficient remote editorial solution that its leaders say can replicate (and even rival) a traditional editing facility workflow. RPL Media Technologist Erik Beau- champ said, "We wanted teams to be able to focus on being creative, and that meant restoring the collaborative workflow so teams would be able to work and operate as if they were in rooms next to each other, just like in a normal on-premises setup. That A REMOTE CHANCE HOW A BURBANK COMPANY HAS AIDED POST-PRODUCTION WORKERS SEEKING REMOTE-WORK SOLUTIONS was the inspiration to build Remote Picture Labs the way we did." Three-time Emmy-nominated editor and two-time Eddie-award winner for edit- ing "Boston Legal" and "Ally McBeal", Philip Neel, ACE is currently cutting the second season of the HBO Max dramatic series "Julia," inspired by chef Julia Child's life. Neel has worked with RPL on a few series, starting with "Queen of the South." "When COVID first hit, everyone was trying to figure out how to edit from home and interface with producers and directors to implement changes as though we were in an office setting," Neel said. "One option was to edit with the media on external drives and email the bin to our assistants who had mirrored drives with the same media. They would then make QuickTime videos to share with the showrunners. It just got to be very complicated. Then our post-producer discovered RPL, which had implemented the Teradici-based remote workflow, and it instantly became practical to edit from home." VIRTUALIZED, CENTRALIZED AND SECURE Content is the most crucial part of a production. It needs to be shared — dailies from the set need to get to the editor, the editor's cuts need to get to the filmmakers, visual effects teams need scenes and se- Philip Neel's home office. Philip Neel.

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