Oliver Peters
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Forum Replies Created
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[Warren Eig] “And flu and Covid are very different don’t equate the two.”
I’m not doing that. But from a standpoint of liability insurance implications, they are fairly close. Given the precedents it would set, that may not be something that an insurance company would want to cover. Ever.
– Oliver
Oliver Peters – oliverpeters.com
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[Warren Eig] “Now we wait to hear what insurance companies say and do.”
What do you expect out of insurance? I’m not challenging that, but I’m curious about whether insurance has any liability coverage for this. After all, if the crew gets sick from a member working with the flu, how does insurance deal with that? And what about on-prem post?
– Oliver
Oliver Peters – oliverpeters.com
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– Oliver
Oliver Peters – oliverpeters.com
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[greg janza] “Here’s a recent article from an Irish perspective but the ideas in the piece can be applied to many other places:”
Sounds like the “coffee shop edit suite” 2.0. Or… WeWork might survive after all ☺
– Oliver
Oliver Peters – oliverpeters.com
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And as many production companies also “film” in Florida, here are recommendations from FilmFlorida.org.
– Oliver
Oliver Peters – oliverpeters.com
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[Jeremy Garchow] “But if you need less in the office and costs go down. Editors take home gear that is otherwise idle.”
Well… If you start with gear that was already purchased. I was approaching it from the standpoint of not already having the machines. Comparing what costs had been superfluous. Hence my last scenario where you would supply editors with MBP, if you were to supply any gear to them in the first place.
[Jeremy Garchow] “and I think you’ll need more storage and not less.”
Maybe, but just more portable drives for proxy files to take home.
[Jeremy Garchow] ” I don’t think capex for gear goes downward, necessarily, it’s more lateral”
If I’m hiring freelancers, their gear is their own cost. The exception would be if I opted to own and check out the gear to them. However, if they are just cutting proxy media, I would only supply laptops. No way would I buy and supply MP, iMac, or iMP to them. I would for on-prem suites. So the difference would still be lower cap-ex.
[Jeremy Garchow] “I am going to need more minutes, I’m going to need a better storage system that would sync with the office system”
And you, not your boss, will most likely pay for it.
Note as well, that a number of tech companies are talking about paying less for WFH employees. Hopefully that’s not a trend.
– Oliver
Oliver Peters – oliverpeters.com
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[Jeremy Garchow] “I guess this is where I get lost. How do you go from 10 to 4? Why can’t it be 10 to 10?”
You wouldn’t need all 10 any longer, because you no longer have 10 editors working on-prem. They are working from home. You would still need a few (whether 4 or another number) to accommodate a few sessions done on-prem, as well as support the work do by AEs, grading, etc. You’re obviously not going to have 10 Mac Pros sitting around idle if the editors are not coming into the office to work.
– Oliver
Oliver Peters – oliverpeters.com
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[Jeremy Garchow] “I don’t see why if you work form home you won’t need the same or similar setup at the office.”
If you have editors working from home, you don’t need as large of a system. Let’s say the “traditional” shop had 10 suites (iMac, iMac Pro, nMac Pro) and shared storage. If the bulk of the editing is done from home, then you may only need 4 suites to cover the work needed to be done on-prem. Less real estate, fewer workstations, possibly a smaller NAS. The rest is done at home.
Meanwhile the editors working from home need adequate (not same) systems to get the work done. IOW, a decent computer, own the same applications and plug-ins, and have the same fonts installed. If you send media home on raw drives, do they own a dock? That sort of thing.
Imagine this alternate scenario. You have 5 editors and you equip them each with a 16″ MBP, loaded with the options and software. They work with these using TB3 drives at home and can use whatever else they own at home.
At the facility you have 3 suites for client review when the editors come back in for final tweaks. These only have displays, audio, and access to the NAS via 10GbE-to-TB3 converters. The editors come in to make tweaks with the client and simply cable their MBP up to the display and other systems in the room. They can then work from the TB3 drives or relink to media on the NAS. Maybe in addition you have two other fully-equipped suites. One for grading and the other for mixing.
It’s that sort of thing that I was talking about.
– Oliver
Oliver Peters – oliverpeters.com
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[Mark Raudonis] “Evidence: All those “no budget” movies that went on to make millions of dollars, like Blair Witch Project, and the no budget horror genre. Tech marches on, but without a good story, nobody cares.”
Well…. I knew some of the “Blair Witch” guys and the general situation around that production. It’s not a particularly good example to use. It was a fluke that no one repeated as successfully. Maybe the original “Paranormal” came closest.
A more pertinent example is to look at some of the “new media” producers, like iJustine or Rooster Teeth. If you do a bit of research you can quickly see that a) they are quite successful following their formula, and b) their infrastructure is actually based on a significant cap-ex investment.
I think one of the things that will come out of this is that the remote production/Zoom interview approach that was developed as a stop-gap has actually produced a certain style that many viewers find entertaining. I see a lot of that staying around even when it is no longer needed.
– Oliver
Oliver Peters – oliverpeters.com