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BorisFX, Pomfort, Sohonet, Graymeta and The Foundry’s Nuke. “Realising how many technology partners were needed to make this project work was one of our biggest challenges,” explains Wenzinger. “We had a few drop out at the last minute, because they didn’t have enough bandwidth to support it. JZ was very reactive, though. He would immediately call me up and say, add this partner, or these three partners to access multiple terabytes of content that will enable creatives to do their conform work or their graphics or promos work.” He adds: I come from a media asset management space, so understanding what production creatives required was new to me. I relied on AWS expertise.” The short incorporated all elements of a real Hollywood production, including delivery of dailies, editing, colour grading, conform and an outtakes reel. This was performed live at the Supersession and achieved in support of AWS partners Frame.io and Colorfront, which helped connect every participant and every company to its framework. “Because of our partnerships, integrating all these technology partners into the cloud was easy,” Wenzinger notes.
THE HILLS ARE ALIVE The Lost Lederhosen follows the story of Helga and Hans as they make their way to Los Angeles to meet their friends
SUCCESSES AND FEEDBACK The film’s primary goal was to educate industry pros about working in the cloud, as it’s going to be increasingly employed going forward. And while it may not be nominated for an Academy Award for Best Picture, it proved the value of a “AWS content lake architecture”, where the content resides in one central location and numerous collaborators can access it at any time, with any number of applications. “The feedback we got back from creatives was positive,” Wenzinger enthuses. “A conform artist had his first experience with the cloud on this project and he was amazed by how fast the Nuke UI was. He said it was a lot faster than his on-premises implementations of the software, and that’s simply because he
was accessing the AWS Local Zone in LA using GPU capabilities.” He adds: “It piqued everybody’s interest as they realised they didn’t have to wait a day to review shots. To prove this, the gentleman from Frame.io was able to take shots and create a rough-cut sequence just from using Final Cut and then showed it to the director, who realised he had missed a shot. It’s immediate feedback you wouldn’t get on a typical production.” The challenges for creatives, however, are more cultural. Getting people
comfortable with a new way of working is always difficult, but AWS is reviewing the experience for future use.
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