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As technology continues to progress at a rapid pace, post-production is set to change dramatically. Besides great new software features, compute (and therefore render) power continues to increase with faster processors and more powerful xPUs (GPUs, TPUs, etc.). This means real-time editing of HD, 4K, 8K, AR and VR is fast becoming a reality, ultimately shortening post-production timeframes.

As Jai Cave, ENVY’s technical operations director put it, “in a way, we are the cloud to our customers and partners.” ENVY’s use of modern technology, including remote edit capabilities and their expansive use of Signiant Media Shuttle, enables them to collaborate with customers and partners around the world, and made the transition to remote work during the COVID-19 pandemic any easy one. Although project files and media are stored securely on-premises at ENVY’s facilities in London, they are able to collaborate globally thanks to their forward-thinking approach to post production.

Creating great sound along with mixing and editing is truly an art form, one that I really have admired for a long time. The sound tools used by creative professionals today have taken audio to a whole new place. Audiences at all levels want and expect really good audio whether it is in the movie or home theatre. Clear dialogue, background, sound effects, and music all have to be spot on. Boutique studios and full on post facilities know that getting all the elements right matters to the success of the program.

The action thriller "San Andreas," now in theaters, is packed with catastrophic destruction, achieved in part through 247 complex visual effects shots executed by Method Studios facilities. As one of the main visual effects vendors on the film, Method was responsible for the entire downtown Los Angeles sequence, in which an earthquake decimates the city, and also contributed to the San Francisco sequence.

Over the past several years, two major technological developments have occurred in tandem, both of which have made wide-ranging and revolutionary changes in the world of media post-production. One of these developments is the explosion in sophisticated yet affordable software; the other is the exponential growth of cloud computing.

In my previous ProductionHUB column, Remote Production: The World is Your Oyster, I discussed the emerging trend of remote production. Increasingly, we’re seeing post-production companies create infrastructure that spans the globe rather than just the length of a building.

GBH sought out Avid to help strengthen their audio and post production workflows. GBH, the largest content creator for public media in America, recently announced that Avid helped them transition to an enterprise software subscription for Media Composer, MediaCentral and Pro Tools, allowing quick access to editing suites and storage for seamless collaboration.

Shared storage that spans location and time is becoming increasingly common in modern digital media workflows. Cloud storage in data centers fills this role and it is finding many applications in media and entertainment from post production to content delivery and archiving. This article will look at some developments in cloud storage and moving content on the Internet from the 2015 NAB show.

Even though most in-person industry events like IBC have been held virtually this year, many technology vendors, AJA Video Systems included, have been working quietly behind the scenes to develop new solutions aimed at helping professionals across broadcast, production, post and ProAV meet an ever-increasing demand for live content and remote work setups. We got the chance to catch up with AJA Director of Product Marketing Bryce Button about what the company has been up to, and, spoiler alert, they’ve just unveiled some groundbreaking new technology, as well as a feature rich update that Ki Pro Ultra 12G users are going to like.