TVBE September 2018

Page 66

LOOKING FORWARD IN POST Colorfront Transkoder proves a winner at Roundtable Post in London

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f you’re involved in post production, especially episodic TV, documentaries and feature films, then it’s highly probable that High Frame Rate (HFR), Ultra High Definition (UHD) and High Dynamic Range (HDR) will have come your way. “On any single project, the combination of HFR, UHD and HDR image-processing can be a pretty demanding, cutting-edge technical challenge, but it’s even more exacting when particular specs and tight turnarounds are involved,” says Jack Jones, digital colourist and CTO of Roundtable Post Production. Amongst the central London facility’s noteworthy credits are broadcast TV series and feature documentaries

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for ITV, BBC, Sky, Netflix, Amazon, Discovery, BFI, Channel 4, Showtime and film festivals worldwide. “Yes, you can render-out HFR/UHD/HDR deliverables from a variety of editing and grading systems, but there are not many that can handle the simultaneous combination of these, never mind the detailed delivery stipulations and crunching deadlines that often accompany such projects,” Jones remarks. Rewinding to the start of 2017, Jones says that, “Looking forwards, to the future landscape of post, the proliferation of formats, resolutions, frame rates and colour spaces involved in modern screened entertainment seemed an inevitability for our business. We realised that we were