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TIM PUSCHKEIT: Remote production will always have to be a consideration in the future. It isn’t the key to success, nor the answer to all our questions. Remote stands and falls, at the end of the day, with what the customer or broadcaster want to achieve. It’s all about emotions. We’ll also go back to a bit more travelling after Covid-19, so it will be a mixture; a balance. The discussion will move to setting priorities and deciding what is best for the next project. ROBERT ERICKSON: The biggest difference is that we’ll just call it ‘production’.The technologies we have developed today for remote production are going to be innately baked into everything we do. It’s just a toolset that we have to create the content we need to do. On the engineering side, there is a unique challenge. Our job is to allow creative people to make the best content they possibly can imagine. Do you think aTD really cares if his switcher is a big Grass Valley keyframe sitting in a truck, or if it’s a bunch of compute in AWS, if it gets the job done? They just want to focus on what they’re doing. We still make switchers, and have to do some things in hardware, but if you want to do a medium or small production in the cloud, we can do that. A lot of the things we still have to do in hardware today, we’ll be able to do in software. CLAIREWILKIE: I ask all my clients: “How big is your imagination?What is the most outlandish project you can think of?”Then, we look at the tools to see how we can make it happen. It comes down to that translation between technology and creativity. Half of my job is being able to do that for production companies or producers.They have an idea and say: “I want to live stream from the North Pole, or a mountain NEAL ROMANEK: What will remote – or distributed – production be like in five years?
SWITCH IT UP Hard- or software-oriented, production aims to accentuate creatives
in Italy. I have no idea if I can do that. Is that possible?” I love that question. Of course it is, because we have unlimited technology available and it’s always being innovated. Everything is going to get better. Delays are going to be smaller and the most outlandish ideas are going to happen.That’s why I’m in business.
NORBERT PAQUET: Cloud, remote, IP, you name it, they will all just be part of the way we’re working.There will be a mixture of ways of creating content.The methods of working and toolsets will be put together based on the objective the creatives have. There will be more creativity, with a lot of flexibility in what people pick and choose.That’s why I like this distributed production model.You pick your resource – whether it’s a creative brain, the engineering or processing back ends – you put them together and you go.The palette of options will just get wider. STEVE DARGHAM: I like what Claire said. In 2012, James Cameron wanted to go to the MarianaTrench, the deepest point of the Earth. And guess what?We connected him live, from the MarianaTrench, all the way from National Geographic HQ. To tell you what things will be like in five years, let me take you back to three years ago, when Fox Sports Australia decided they wanted distributed production. For the past three years, the National Rugby League, Australian soccer and Australian rules football have been done remotely from Melbourne or Sydney. In five years, there will be more AI, but remote will just be part of production.
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“THE PALETTE OF OPTIONSWILL JUST GETWIDER”
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