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Larson Studios and Post Haste Digital have recently joined forces to extend audio and video post services in West L.A. Here, they share two perspectives on selecting a post-production audio/video company: the questions that you as a client should ask a company before final selection, and as a company, how you should be responding to those questions.

ProductionHUB speaks with Local Hero CEO Steve Bannerman and President & Supervising Colorist Leandro Marini about what it's like working at a post house and how they are adapting to this ever-changing industry.

I often joke about having been a pirate in a past life where I sailed the Seven Seas in the eternal quest for bounty, and while my camera has replaced my ship, that is the business approach that has prepared me today for a career in the media. At one point we all have to made a decision about how we want to work in the production industry and what types of lifestyles fit us the best.

You'd be surprised by the fact of just how many movies rented real homes or businesses to use them as filming locations. It became standard practice in the last couple of decades. In fact, all the chances are that your favorite movie was filmed this way, at least partially. So, if the benefits of renting your house to film productions do exist, why wouldn't you let your home become a part of history?

One of the biggest challenges facing post houses today is the unrelenting pressure to create more and better content with fewer resources, and to get it completed faster. This is happening at a time when the fundamental technical underpinning of the industry is changing rapidly, adding a significant layer of complication.

They say necessity is the mother of invention. 2020 is a case in point. Social distancing and widespread lockdowns during the coronavirus pandemic have fast-tracked a global digital transformation. Billions of people have found new ways to work remotely and connect with each other. In the audiovisual industry, productions have found new ways to continue, facilitated by live streaming, virtual production tools and video conferencing technology, not to mention super-fast connectivity thanks to 4G, 5G and fibre optics. Post-production, in some cases, has actually thrived.

Late in 2020 LWKS Software was formed, led by former EditShare executives. LWKS acquired the Lightworks NLE and QScan ACQ systems from EditShare. The NLE has been used to edit major TV shows and films, including “LA Confidential,” “Pulp Fiction” and “The King’s Speech.”

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.

Post|Production World returns to NAB Show Las Vegas as a hybrid training event this October. As the highly anticipated event of the year for the media and entertainment industries, many post and production professionals are eager to return to in-person training. With over 120+ training sessions to choose from, attendees could expect to learn something new this year while also taking the opportunity to reconnect with the community.

Based in New Zealand, The Rebel Fleet provides a wide range of digital workflow services for television and film production crews, including on-location color correction and quality control, archiving, content delivery, and more. To meet the rigorous demands of a large-scale film project, the company implemented scalable, high-performance storage from Quantum. The solution enabled The Rebel Fleet to reliably support real-time processes involving high-resolution content in the field while maintaining a small footprint for a mobile rig.