Electric Picture Solutions and Global Entertainment Partners (EPS/GEP) announced that they now offer a 100Mb high-speed portal for their Studio City campus. Now, clients can move media or dailies from any location, whether just down the street or across the world, quickly and efficiently to Los Angeles for editorial or processing.
On-set digital dailies are becoming status quo for the production community, creating a need for high-speed networking to post. For example, the feature film Freaky Deaky, is shooting in Atlanta with dailies being processed on set, while the editorial team is set up at the EPS/GEP headquarters in Studio City. The dailies are transmitted from Atlanta to Studio City using a dedicated portion of the EPS/GEP pipeline and DNA SYNC, enabling the editor to immediately begin cutting.
Native camera files, which EPS/GEP can now send or receive, are decidedly important for content producers to move from a shoot, to processing, to editorial. “Raw files are the foundation of a digital workflow,” explained David Pincus, EPS CEO and founder, “therefore, delivering them in minutes or hours, rather than days, opens up a whole new level of service to our clients.”
The EPS/GEP pipeline is also a depository for dailies, raw or color corrected, that need to be transferred from a location shoot to editorial back in Los Angeles, even if the feature is not being cut at the EPS/GEP campus. EPS downloads the dailies and delivers them to their final destination.
EPS/GEP allocates portions of the 100Mb connection depending on the client’s particular bandwidth needs. The IT manager simply directs the amount of bandwidth the client requires to a particular system or systems. The client can upload and/or download files using their dedicated bandwidth, ensuring that their transfer will not be affected by the other clients on the network. “We can dedicate single or multiple ports to an individual, or groups of editors working simultaneously in any increment based on the client’s needs,” explained managing general partner, David Goodman.
The 100Mb pipeline is also perfect for a production that requires an entire feature film be sent directly to editorial, or for the movement of visual effects between the editing bay and the VFX facility, which can only be transmitted using high bandwidth.
“It also enables streaming of editorial playback,” said Goodman. As an example, he cites director Simon West. “West is currently in Bulgaria scouting locations for Expendables 2. We are streaming video of his recent project, Medallion to him by virtue of our 100Mb pipeline”
