RENTAL ROUND TABLE | GEAR
JB: We spent Covid-induced downtime on R&D and developing new tools. Then, when we returned late in summer, we were able to roll out the use of our custom-designed Stitchbox, which brings live-stitched preview, playback and instant dallies to VFX arrays [see our September 2020 issue for more details]. It’s something we had ready at the start of spring, so it was good to finally get it out. We also worked on a multicamera software for the E2, resulting in a wireless control app for the 40-camera bullet time rig we made. RW: We are very proud of Springwatch . A lot of the very cool stuff we are doing is still under NDA – and we can talk about it when it goes live – but it’s fair to say that we have been working on some high-profile sports productions, prestigious SVOD drama content, as well as assisting companies in developing workflows that can withstand colleagues being geographically dispersed and reliant on sometimes poor internet connections. Designing workflows is at the heart of what we do at Jigsaw24. We have extensive investments in our demo environment, all of which we can access remotely, so we have been testing and designing new workflows for customers on an insanely intensive basis for the duration of the whole lockdown. SW: We provide a whole host of services, from equipment supply and storage to engineering, with a dedicated team of in-house staff supporting a wide range of highly-skilled technicians in the field, while also operating as a service company to a wide range of freelancers. In terms of products, we are particularly proud of our Eagle transmitter, which has become an industry standard for robust wireless video, alongside our ArkLink and CommsLink remote production technologies. MG: Alongside equipment hire, we also offer technical crew to support productions, including crane technicians and phantom operators. We provide engineering solutions on an ad hoc basis to ensure the crew in testing have everything exactly how they need it to be. In an interview with Adrian Wootton, Britain’s film commissioner, he told us that the UK’s production boom is continuing despite Covid-19 setbacks. What are your thoughts? AP: I think that if you’re someone with a giant warehouse somewhere, you’re currently sitting on a gold mine. Studio space is so high in demand right now and it’s not going to stop.
However, I don’t think the production boom is a recent thing: the UK has always had a solid production base. I remember going to Pinewood Studios as a kid and seeing the history of how the Star Wars films were made. I realised that there’s a craftsmanship to it that just doesn’t exist anywhere else. Obviously, there’s millions of people in America who do the same thing, but it’s not at the same level as it is here because the community is smaller. Everyone knows everyone and there’s a camaraderie to that, which I think makes for a stronger team and a better picture. So, why wouldn’t studios want to plough money into a place that has amazing talent? Of course, this means there’s more pressure for us to expand, but we’ve had this pressure since the Alexa 65 launched, where our influence grew dramatically, and we had more exposure to the biggest blockbusters. JB: There has been a huge delay in production shooting and now there’s a huge list of shows waiting to film to clear this backlog. Is it full steam ahead? No, not quite. Will we get there? Yes, but not for a few more months. I think the vaccine roll- out is key to this, with many productions opting to wait until the spring to avoid costly shutdowns. RW: I am not sure I am that bullish. There is much to be grateful for at Jigsaw24, but we are seeing customers working really hard to re-engineer their businesses, what they offer and how they offer it. I’ll be glad when this is all behind us. SW: We’re very excited about the prospects that 2021 and beyond bring. We’ve seen a massive surge in studio films, high-end TV and independent films shooting this winter. With the massive expansion in the UK’s facilities and infrastructure, coupled with external investment, we remain convinced that the UK will continue to be a world- beater over the coming years. As a growing and ambitious company, we’re extremely excited about the contribution we can make within this space. MG: We’re anticipating that 2021 is certainly going to be a busy year for film and television. Demand for fresh content is at an all-time high, as many people have spent a lot of 2020 indoors in front of the TV, so the appetite is definitely there. Many productions pushed their filming schedules from 2020 into next year, so there is likely to be a surge once things begin to return to normal. We are well prepared for the demand and have some exciting plans for expansion in the pipeline.
the Panasonic S1H, which is also the first mirrorless camera to be Netflix approved. SW: Virtual production is the biggest buzzword. LED volume stages will be the major trend. MG: Our large format cameras have been extremely popular in 2020, and we’re often seeing these paired with either modern, large format lenses or vintage lenses, like the Canon K35s. We expect the demand for large format to continue into the next year. With the popularity of new digital cameras, we have also seen a growing resurgence in requests for 16mm and 35mm film cameras for music videos, commercials and feature films, with some opting for a mixed media approach, hiring both digital and film cameras for the same production. Do you customise or develop products and production workflows in-house? AP: We do our best to customise as much as we possibly can, and that could be anything from a plate or a cage, to a lens or a handle. We actually made Robert Richardson a special curved handle because he likes to hold the camera from the back, where the battery is, but obviously it’s impossible to do that for everyone. If an NFT student came in and asked us to make them a lens, we would probably have to refuse, but we would definitely help them find the best solution for their look. We’re starting to build a collection of special lenses that we haven’t uncovered – because we’re prototyping glass all the time for our DNA programme – and have, in some instances, lent out to filmmakers. One filmmaker was Adam Scarth, who shot Netflix’s Top Boy . He came in with a look book for the show and was referencing the greats. He wasn’t looking for the fastest lens. No, Scarth wanted to light to T2.8/ T4, which is reminiscent of Roger Deakins, Ben Davis and Robert Richardson – masters who were able to create depth in their composition and lighting. This isn’t something you can teach; it’s something you’ve got to want to learn, and Scarth wanted to. So, I went into our stock cupboard and pulled him out a couple of prototype lenses from the DNA programme. We already had the show, so I didn’t need to win him over – yet, it was his enthusiasm that won me over.
JANUARY 202 1 | DEF I N I T ION 13
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