TV/STREAMING
that with the artists. SRP also proved to be really robust as a group reviewing tool, as we could have multiple artists connected to the same session, which allowed them to make annotations and load new versions on the fly.” Kevin Sears: “We use a screen-sharing software at Framestore called Trumpet to assist shared sessions, but also with a combination of RV syncing as well. Immediately we noticed some differences in the traditional dailies review process! Artists would have working files up and be giving real-time feedback on the state of a situation in a file, or in some cases we had notes for Lookdev and would see the new take at the end of a 30-minute review session. The dynamic of team members in a dark theater setting was the same, but the information accessible and the feedback loop therein was greatly improved.” Matthew Twyford: “Most artists were doing everything from home as if they were still working in their respective studios. They had to overcome a few challenges with calibrated monitoring and blacking out rooms, but although the quality of the hardware and software PCoIP solutions was extremely good, it was not good enough for our final QC checks. This meant that some of the firstteam members returning to the offices in London and Montreal were the 2D supervisors to utilize the calibrated 4K suites to approve final deliveries.” A CHANGE IN COMMUNICATION AND WORKFLOW
João Sita: “Keeping our VFX crew informed was the main priority in combating potential confusion, doubts or worries. The first few sessions of dailies from home were mostly spent answering questions, sharing experiences, chatting and maintaining team spirit. We were continuing to use our existing structure of Google Suite, but there was a much heavier emphasis on video chat than previously used at Framestore. Once the communications were set up, the processes of tuning and tweaking all the work from home procedures, hardware and software were greatly accelerated to get back to our targeted 100% productivity.” Jonathan Opgenhaffen, Art Director, Framestore: “I was lucky that I was able to take my work machine home with me about a week before the whole company went home. Once I had a secure connection to our art department server, it was pretty much business as usual. We conducted our regular reviews and meetings through Zoom, and in a way, being able to screen share really helped speed things along and kept discussions flowing. I could prepare a reference board and even keep my Photoshop 3D scenes open in the background, and if needed, I’d screen share those to discuss various aspects of what we were working on.” Coline Six: “In terms of communication and tools, Shotgun has always been our go-to, but even more so since working from home as we are not in the office and able to easily communicate with our colleagues. The show is clearly driven by the schedule, which is necessary, but sometimes you also need to brainstorm with people
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PG 14-18 PROJECT POWER.indd 16-17
and reassess work, which is less straightforward than before. Not sharing the same office space and being able to have meetings on the fly, and not asking questions in person has really changed our way of working.” João Sita: “We established a very direct communication flow, as we could squeeze a review between other meetings without having to check on room availabilities and the artists were just a click away. Another interesting aspect of the work-from-home setup was that it allowed artists to listen to feedback regarding their sequences while waiting for their shot and keep working on their own shots. In many instances, they were able to answer questions regarding a missing element in their setup and make changes on the spot.” Kevin Sears: “I directed my energy from physical meetings with multi-department input into having dedicated chat rooms about sequences or shots with all people involved and saw clarifications and focus come into action. We implemented fun Friday night socials with the Production team to take the stress off.” Matthew Twyford: “Viewing dailies ran close to our original schedule, but we soon realized that without the need to book a viewing suite we had the flexibility to expand, move or continue scrutinizing our dailies. This freedom gave me more valuable time to interact with the team, which is something I still enjoy about working from home. With everyone then joining in on chat video
after a few days, it started to feel like we were back in familiar territory and, more importantly, back on track. Our presentations to the directors were largely unaffected as Henry and Ariel were based mostly in New York throughout the post-production period and we just continued to use cineSync for our regular sessions.” João Sita: “One thing that we really put a lot of attention towards was how we would complete the ‘final tech checks’ and latest reviews of the shots before sending them to the client. For the final tech checks, for example, we created a two-step process with a first pass tech checking the shots from home, which would get the majority of major issues still existent in a shot and later – after the government allowed certain employees to access the building – going to the office to have the final review with the shots in our screening rooms. We also needed our 4K projectors in an accurately calibrated environment for the final nuances.” OPPOSITE TOP: Art demonstrates his super power in the film’s climax, via visual effects from Framestore. (Image copyright © 2020 Netflix) OPPOSITE MIDDLE: Art gets ready to consume a Power pill. (Photo: Skip Bolen. Image copyright © 2020 Netflix) OPPOSITE BOTTOM: The aftermath of Frank and Art’s encounter with Biggie. (Photo: Skip Bolen. Image copyright © 2020 Netflix) TOP: Colson Baker (aka Machine Gun Kelly) as Newt, a dealer of Power pills. (Photo: Skip Bolen. Image copyright © 2020 Netflix)
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