HARBOR | PARTNERSHI P FEATURE
RIGHT HARBOR’s head of studio services, Michelle Kaczor, and digital lab manager, Andrew Minogue
“We see creative possibilities arise that wouldn’t have in a linear traditional process. That’s what sets HARBOR apart”
ABOVE HARBOR GRAND IMAX Dolby Atmos mix stage in Soho, New York
customisation,” explains Tucker. “Time and again, we see creative possibilities arise that wouldn’t have in a truly siloed, linear traditional process. That’s what sets HARBOR apart from the competition.” THE CREATIVE APPROACH HARBOR’s big idea has always been to ease the creative process for filmmakers as much as possible, enabling them to work in a non-linearly fashion like never before. Allowing artists to push the envelope, while protecting the creative vision of the filmmakers, was at the genesis of HARBOR’s formation and that philosophy remains and flourishes. Discover what Harbor – an inspiring, innovative and secure space – can do for your creative productions today.
but our future will see an approach coupling automation with high-touch human QC, intervention and customisation. Not everything will be a cookie cutter result. The main thing we do in post is the enhancement of the vision of the filmmakers and we’re working relentlessly to put options at their fingertips. “The traditional model isn’t going to drop off a cliff, there’s too much at stake for everyone to throw out what we’ve already done, but we’re looking at how to customise the combination of the traditional model with a non-linear model so that we can address the filmmakers’ needs.” Post companies are increasingly moving upstream, getting involved in pre- vis, near-set dailies, near-set editorial and even taking on budget consultancy roles at the script writing and line producing stages. “For HARBOR, one of the most intriguing innovations is around facilitating less linear post-production workflows where filmmakers have more interaction with all their post teams and divisions, from dailies
and editorial to VFX, colour and sound,” explains Tucker. “They are then more easily able to iterate with a real-time feedback loop so creative options are maximised. A good example of this would be final colour correcting as soon as there’s a rough cut, rather than waiting until picture lock. This way, the editors and directors work with final colour updating at their Avid along the way so the guide track actually reflects what the final show is going to look like.” One area Tucker highlights is VFX pulls and retrieval automations, which especially applies on larger VFX features and episodics and it’s something HARBOR has heavily invested in. “To automate the delivery back to the post house from the VFX vendors and the offline suites, maintains colour pipelines and metadata integrity so you can iterate the reiterate and deliver on time. Auto-conforming and auto-updating on offline suites along with exposing the pull system means our clients can then do 24/7 pulls and retrieval, only requiring human intervention for QC, troubleshooting and
MORE INFORMATION: harborpicturecompany.com
DECEMBER 20 1 9 | DEF I N I T ION 41
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