Obviously there are a lot of freelancers in the industry, so they might have to spend time getting used to the various [remote/hybrid production methodologies]. JEREMY MILLER: As John said, you run into a ton of different use cases and equipment wherever you go. For us, it primarily means getting into the IP side of things, but also an inherent transfer of knowledge in which IT is more involved. The conversations can be quite different, but [a consistent theme] is security. People want to ensure they have safe connections, which involves learning about and working with customers and their IT departments closely. We’ve kicked off remote training sessions both internally and with external customers. We’re teaching people how to implement [these aspects] and getting feedback about features. So there is an impetus to really look at the nitty-gritty detail in order to ensure customers can do what they need to out in the field. Also, there is definitely a sense [among customers] that they know they have the capability now, so they are asking the question: ‘What else can we do?’ There is a great deal of ingenuity being shown by broadcasters about how they can use remote production to cover more sporting events and so on. GUILHEM KRIER: There is an ongoing challenge in terms of [meeting evolving customer requirements]. One thing I would like to add is that we are sometimes stuck between a rock and a hard place. We are supposed to manufacture cameras and not manage workflow aspects, like encoding, that come after the picture is shot. But to stay relevant, there is a need to stick our fingers into that as well. Customers are expecting that. “SOMETIMES, WE ARE A BIT STUCK BETWEEN A ROCK AND A HARD PLACE”
JOHN O’SHAUGHNESSY: It’s a big subject, especially in our world. The productions we deal with – and sometimes [other partners] such as broadcasters or satellite trucks – have all got different requirements. Our role is to be the hub that talks to everyone. We can do that, but it [requires careful planning] in order to accommodate all of the individual requirements and bespoke elements; for example, how the audio and video for a given production connect from a communications point of view. There can be video and audio delays to manage in the process, [so one specific area we have been] spending time and money on is synchronisation tools. For instance, you can look at multiple cameras and types of signal – HD, 4K and various flavours of that. On a training level, it has added a new complexity with regard to the types of requirements for each person on-site, who may be used to a certain way of doing things.
DAVID DAVIES: What do you think are the hurdles that are still yet to be overcome if hybridised workflows are to achieve their full potential?
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