Thread: Early thoughts - Production in a Corona-world - we want to help (and discuss)

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  1. #11  
    REDuser Sponsor Gunleik Groven's Avatar
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    I get a few questions. I think most info is in my first post, but to be clear:

    We don't offer to produce, distribute or direct your production.

    We just offer workflows for productions that happens in the corona-situation where people can not sit together and collaborate directly.

    I think three advantages and an interesting thing with what we offer is that

    1. It is a hybrid solution.
    This means that you don't need to upload "all" to the cloud to get going. Proxies take you through a lot.
    Of course you CAN upload all, but it is much more efficient and also community friendly to only move the originals you NEED, in a time where bandwidth is a precious commodity.
    Also this approach lets you work "much earlier" than if everything including originals needs to be online to get you going.

    With a production we are currently on, the editorial material alone is 15TB, and they can continue working without bumps when everyone go home.
    If we needed to upload the originals to get there, that would easily be 200-350 TB extra of material just to assemble the production.

    Now we are good at saturating bandwidth, but still...

    2. We have a "local" ingested/transcode/upload/download solution (QI).
    What is significant with that?
    This means that both the files you upload and download will be structured and mirrored on all locations.
    If you upload/download through a browser, your files essentially land in a mess "somewhere" on your system.

    3. Snart watchfolders
    Our watch folders are "programmed" to receive specific data-types, be it "documents", camera-files, audio, VFX-renders, review files or finished programs.
    This means that even with watch-folder ingests your project stays tidy and navigable without a lot f manual tagging.


    we have had al editorials an accessory data in the cloud for a while, but it would be interesting to work with someone interested in also putting Premiere in the cloud. We sort of have everything ready to do that.

    Hope this makes it more clear.

    Cheers

    Gunleik
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  2. #12  
    REDuser Sponsor Gunleik Groven's Avatar
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    Production in the reality of Corona , part 1

    Crisis is the mother of invention...



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  3. #13  
    REDuser Sponsor Gunleik Groven's Avatar
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    So a little update.

    We're adding productions based on remote/distributed/home scenarios

    Adobe came out with this:



    And here's a video showing how you can conveniently collaborate from home:

    https://youtu.be/tKFqDv1sOjw

    https://youtu.be/tKFqDv1sOjw]

    Cheers

    Gunleik
    Last edited by Gunleik Groven; 04-05-2020 at 07:20 PM.
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  4. #14  
    REDuser Sponsor Gunleik Groven's Avatar
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    After looking a bit around, I would sort of mention that one of the things that makes this possible is distributed file-management.

    It's not as easy as you on one hand have a hybrid solution where everyone gets everything locally, or you have a pure cloud solution where everything lives in the cloud.

    Both of those approaches would have been preventive fr even making this video, even though we support them.

    In a situation where internet bad with is scarce, (in this example 10 bit up/down at my co-editors place), none of the above approaches would have worked.

    SO the solution to that is to

    Only upload what you need, BUT keep track of all assets in all versions (R3D, prores proxies, h.264's and all ancillary data, like documents and audio-files.

    Then you share a bare-minimum for a default immediate editing situation, and only share originals as they are requested.

    In this example the difference is 1,5 TB vs 50 GB

    We could definitely have made it even slimmer.
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  5. #15  
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    DO you need any shooting done in Manhattan. Helium Monochrome owner, lives near Empire State Building, familiar with the street situation and can get lot of evening/night shots that would be otherwise difficult for a freelancer or someone who doesn't live in the neighborhood.
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  6. #16  
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    Quote Originally Posted by Ketch Rossi View Post
    Hey Gunleik,
    This is very cool of you guys

    I am in fact embarking in a Spec Film project for Netflix myself here in California http://www.reduser.net/forum/showthr...13#post1893413

    Cheers for linking to that, it was a truly fascinating thread!

    For example:

    http://www.reduser.net/forum/showthr...=1#post1893668

    ok, im just saying, Ive worked for Netflix for about 5 years, probably ten shows and they are very tight now and unless it's an outrageous doc they can get cheap (they buy them for about $50k, which barely covers the cost the strict finishing they require you to do before delivery, meaning NO backend) or your film has to have either 1; a very big sales agent they have made many deals with in the past(and those sales reps only work with veteran film makers with a proven record. 2; it's something that has got exceptional buzz from the top 5 film festivals, had to be in sundance, tribecca, TIFF etc, or 3: has a celebrity staring in it that is willing to not make any money from it. I dont want to burst any bubbles, but Netflix is now the hardest to infiltrate unless you have one of those 3 things. take this from experience and knowing the sales department intimately. I know a lot of successful film makers with fantastic movies they made for under a million. one of my good friends have been doing the film festival circuit for a year now with a juno temple simon pegg film, very big sales reps, the movie has got into all the big festivals and done well, i think they might be on their 20th festival, still netflix didnt buy it. they are now going to itunes for distribution, and they have an independent investor that will get it to the 2 weeks of box office it needs to compete in awards. my point is netflix is really a pipe dream unless you have all those things, plus you have luck on your side. the few things that ive been involved in that were independently made and netflix did buy it, the payment was very very low and barely paid for the delivery and rights to music. so no one made any money. nothing. this is JUST my experience and my suggestions is loose the netflix out of the description. it's a 1 out of 10000 that anyone from netflix will even look at something unsolicited....unless it's a batshit crazy doc with internet buzz, that's their liberal sweet spot. but again, you might be able to get it on the air, but it wont make you any money. just go out and make your film. i understand you think reduser is your home away from home, but by the way i see you treated on here, id personally also find another place to live, and just visit occasionally. fuck'em. go do it, but do it for yourself, not for netflix.
    I had no idea just how tough Netflix is to get into these days!

    Guess Amazon Prime / Hulu / Vimeo / etc should be the focus for us lowly indie filmmakers rather than Netlflix?
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
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