Issue link: https://digital.copcomm.com/i/1488780
62 C I N E M O N T A G E T E C H Not only is a private cloud more secure than a public cloud, it allows RPL to avoid a metered pricing model typical of public clouds. "Productions have budgets and want fixed pricing so that we're not meter- ing how much data is coming in and out or how many hours these workstations run," said Bass. An editor connects to the workstation virtually using a zero client hardware device. It's not a computer; there's no operating system or hard drive for storing content locally. The editor connects the zero client device to the internet and to their own monitors, keyboard, and speakers. Then they're ready to go. Beauchamp said, "It's called a zero client because it has a zero attack surface. So on a security level, there's nothing for a malicious attacker to hit. And the transmission of the stream and the input from the user go through hard- ware-encrypted processing (depending on the model). All we're doing is pushing pixels and recording mouse clicks and keyboard input, and we've put it all together so the editor feels like they're sitting right in front of a workstation." Neel agreed. "It's very streamlined and simple. It keeps the operation really quick and efficient, as though I'm working with lo- cal drives in a production office. I've ramped up my internet at home to 1 Gbps download speed, so as I'm editing, there's no audio lag or picture lag," he said. R P L ca n re m o te ly m a n a ge t h e ze ro client device. They can monitor it, push updates, and make configuration changes without having to go on-site. Beauchamp said, "They're incredibly reliable and ro- bust little boxes. We've partnered with HP (which recently acquired Teradici) and they keep improving the quality of the codecs. We're now using a new technology they have called PCoIP Ultra. It requires about a third of the bandwidth of the original PCoIP codec. For monitoring, it delivers higher frame rates and better-quality images at that lower bandwidth, allowing our clients to output UHD on up to four monitors." WORKSTATION APPLICATIONS AND REMOTE ASSISTANCE The majority of RPL clients use NLEs (Non-Linear Editing software) like Avid Media Composer, Adobe After Effects or Premier, or Blackmagic Design's DaVinci Re- solve. "Our environment is tailored towards the high-performance GPU accelerated workloads, so anything that requires a lot of video processing power is really well-suited for what we've built," said Beauchamp. And even though the workstation is accessed virtually, it has everything the editor would have in an editing facility. For instance, if a client is using third-party effects or plugins (such as Boris FX Suite or Digital Anarchy Beauty Box), RPL can transfer those licens- es into the editor's cloud account so they're available in their workstation. On the support side for software-related issues, RPL can set up remote sessions to guide users through workflow problems. "Our team is comprised of not just en- gineers and technicians, but also skilled operators of the production software that we're using for our teams. So in many cases, our team may have better and more in-depth information about how the sys- tems and software work than the end users have themselves," Beauchamp said. Neel, who recently switched to Avid Media Composer 2022 for this season of "Julia," said, "Erik [Beauchamp] has been extremely helpful in answering questions about the Avid and other things that come up with their system. I especially like how they can take control of my desktop almost immediately to solve an issue." Partnership agreements with technolo- gy vendors allow RPL to test new software features and functions early on, so they can see how those updates will improve their clients' workflows. And RPL continually implements new features and functionality on the back end to improve reliability and quality of service. "These aren't things we charge our clients for. They see the benefit of these improvements, and the reward for us is returning customers and new projects; people are excited to continue working with us," said Bass. CUSTOMIZATION AND COMFORT RPL deals with a wide range of produc- tions, each having specific needs, so they create a customized package for each one, providing as many or as few services need- ed to get content in, edited and finished, and out for final deliveries. Services include everything from supplying dailies houses or vendors with a high-performance Signiant Media Shuttle portal (a highly secure and accelerated method for transferring files into the RPL cloud environment) to setting up editors' workstations with software and hardware (i.e., physical equipment such as adjustable electronic desks, studio speakers on stands, large screen OLED TVs, office chairs, and more). "If they're going to be traveling and working on a laptop, we can set up their personal computer with a software client that allows them to virtu- ally access a workstation that has the same performance and horsepower they'd have in an editing facility. The beauty behind what we've designed is that it's completely scalable and customizable on the client side," said Beauchamp. Neel's setup from RPL includes furniture such as a height-adjustable workbench and a comfortable office chair, two monitors for editing and a larger one for playback, two Bose speakers, a PC keyboard that's been remapped for Mac users, a mouse, and a 10ZiG zero client device connecting Neel to an Avid Media Composer 2022 workstation. For the production of "Julia," four of the eight episodes have been shot so far – three of them primarily in France, and the rest are Jeff Bass.