DOCSLIB.ORG

How Pcoip® Technology Can Save Broadcasters Time & Money While

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How Pcoip® Technology Can Save Broadcasters Time & Money While TVTechnology How PCoIP® Technology Can Save Broadcasters Time & Money While Boosting Cybersecurity COVID-19 and the need to work from home is transforming the way broadcasters produce, play- out, and distribute content. This post-KVM model prevents hostile players from hacking into broadcasters via home/remote user computers. Meanwhile, the reduced bandwidth allows many more home/remote users to connect to a broadcaster’s office or studio without overloading the corporate IT system, because so much less data is going back and forth. Industrial Light & THE SOLUTION: TERADICI’s PCoIP Magic Overcomes TECHNOLOGY ‘Dailies’ Issues with All of the post-KVM features outlined above are provided by Teradici’s PC-over-IP PCoIP Technology nfortunately, the current KVM (Keyboard- (PCoIP) communications protocol. PCoIP Video-Mouse) model of remote access is not uses advanced display compression to n the motion picture industry, adequate for this task. The reason: home- provide end users with on-premises or ‘dailies’ are raw, unedited sets of based/remote users lack secure connectivity cloud-based ‘virtual machines’. Teradici’s Ifootage shot during the production to their corporate workstations and servers. virtual workspace architecture compresses, day that are shared for review U This is because their KVM infrastructure is encrypts and transmits only pixels to a among key players. For a company designed to support local connections to broad range of software clients, mobile like Industrial Light & Magic (ILM) – nearby LAN resources, rather than delivering clients, thin clients and stateless PCoIP renowned for its visual effects in the high-performance user experiences over Zero Clients1, resulting in a highly secure, Star Wars films and other blockbusters long distance WANs. Meanwhile, existing easily scalable, and accessible-anywhere – sharing digital dailies meant moving corporate IT infrastructures cannot ‘scale up’ computing environment. files 100 GB or larger via IP from its San to support a high volume of off-site users; Francisco offices to other locations. particularly when it comes to these users From a user’s perspective, there is no The process was slow and potentially collaborating on high resolution content difference between working with a local insecure, with the risk of dialies stored (such as 4K) over IP-based networks. computer loaded with software, and an on someone’s local computer being endpoint device receiving streamed pixels hacked, stolen and ransomed by As well, such KVM remote access often from a centralized virtual/real computer. hostile players. requires dedicated hardware to function Video editing is unaffected, because Teradici properly. Home PCs, Mac devices and PCoIP technology can deliver full-motion To solve all these issues, ILM became laptops are not designed to support video up to 4K at high frame rates with an early adopter of Teradici’s PCoIP this level of connectivity. Nor are they smooth frame playout to a local computer, technology and PCoIP remote equipped with the processing power and including Windows, macOS, and zero client workstation solution. Today, encrypted cybersecurity resources to properly produce devices. PCoIP solutions are also compatible pixel streams of the company’s dailies content and safely communicate with with multi-monitor and hardware and other project files are available corporate workstations and servers. peripherals such as a wide range of Wacom to approximately 350 users at various pen displays and tablets. Industrial Light & Magic sites. To save The move to cloud-based storage, energy and equipment costs, these production, and playout systems is helping HOW PCoIP users view the dailies on Teradici PCoIP to ease this bottleneck, as is the creation of TECHNOLOGY WORKS Zero Clients. ‘virtualized’ work environments that are also based in the cloud. But the cybersecurity PCoIP is a virtual display protocol specifically “Teradici’s PCoIP technology has and access issues associated with home/ designed to deliver high-quality desktop made it easier and faster for our very remote users will never be solved with the computer experiences anywhere, regardless dynamic, distributed team to work current KVM model. This is why a ‘post-KVM’ of task or location. together,” said Kevin Clark. ILM’s model is required. Director of Information Technology. With PCoIP technology, the entire “The PCoIP remote workstation In the post-KVM model, the ‘video’ that computing experience is compressed, solution enables very effective the user sees on their screen is actually encrypted and encoded in the broadcaster’s communications, and also helps us transmitted as an encrypted stream of data center (physical or virtual) before being get the best possible high-resolution pixels from the broadcaster’s own server transmitted across a standard IP network media viewing results every step of to the user’s local computer (or other to PCoIP-enabled endpoint devices. This the way.” endpoint device such as a thin client or zero protocol also supports many of the services client device) so the content itself remains available to physical machines, including a For the full story, go here. secured in the data center. The encrypted keyboard, mouse, USB, multiple monitors, connection between the broadcaster’s printers, and audio devices. office/studio and the home/remote user delivers a remote computer experience to For a broadcaster operating on PCoIP, anywhere over any network. the protocol eliminates all of the issues PCoIP Technology Conquers Distance for Survivor South associated with home/remote access; bandwidth-efficient collaboration without Africa including hacking by hostile players. Yet as the delays associated with distributing large far as the home/remote user is concerned, files to local computers. The value of PCoIP ased in South Africa, Afrokaans PCoIP technology lets them do everything is that files do not need to be moved at all. Film & Television produces they have always done on their physical This means that files stay centralized, secure BSurvivor South Africa, this computers; just as if nothing had changed. and off local computers where IP theft can country’s version of the U.S. hit Survivor occur. This is why Industrial Light & Magic TV series. THE BENEFITS OF PCoIP – the people behind Star Wars – are using FOR BROADCASTERS Teradici PCoIP to allow users to collaborate During Season Six (2018), Afrokaans on dailies. (See inset box for details.) could not begin editing until hard The benefits associated with Teradici PCoIP drives containing footage were shipped are profound and varied. Here are the ones Innately Secure: Teradici PCoIP’s from the show’s Philippines shooting that stand out. 4 architecture does not expose the location to South Africa. Their editors broadcaster’s content, database, or also had to drive to a third-party post- Best of Both Worlds: Teradici PCoIP operational systems/playout facilities to production facility in Johannesburg 1 combines the security advantages of unauthorized users; significantly reducing to do their work, more than 800 classic mainframe computers (accessed hacking threats. Meanwhile, Teradici miles away from their Cape Town by ‘dumb terminals’) with the power PCoIP traffic is protected using AES 256 headquarters. and performance of today’s cloud- encryption, which complies with the based virtualized production/playout highest government security standards. For In Season Seven (2019), Afrokaans environments. At the same time, Teradici broadcasters, the savings in cybersecurity upgraded to Teradici Cloud Access PCoIP provides all users with the computer defences, detection, and after-attack Software enabled by PCoIP technology interface and experience that they are expenses will be considerable. and cloud service provider Brave accustomed to; meaning Channels to collect, store, and edit that there’s no learning curve in moving Platform Agnostic: The fact that the show. As soon as footage from to this technology. 5 Teradici PCoIP can be used on all this season’s Samoan location was major mobile, laptop, desktop, and thin uploaded into the cloud, Afrokaans’ Works with Major Production client endpoints is a major benefit. So is editors could start working on the show 2 Software: Teradici PCoIP is being the fact that Teradici PCoIP works with all immediately. “With Teradici Cloud supported by major players such as Adobe major operating systems and hypervisors, Access Software we can log in from and Avid in the broadcast production plus cloud platforms such as AWS, Google anywhere, on any device, to use all of industry. Adobe recommends Teradici’s Cloud, and Microsoft Azure. The result is our usual post-production software Cloud Access Software to deliver the best true portability for broadcast employees: as if we were in a post-production user experience when running products Suddenly working from home is no longer facility,” said Darren Lindsey, Afrokaans’ such as Adobe Premiere Pro from the cloud. an issue for them or their employers. Supervisor Producer. Meanwhile, Avid | Edit On Demand uses Teradici PCoIP technology to connect users Teradici’s Cloud Access Software – which is Moving to PCoIP technology has to its cloud-based virtualized editing system, based upon PCoIP technology – can serve allowed Afrokaans’ editors to access which is based on Media Composer and as an end-to-end, ultra-secure software footage over networks with as little Avid NEXIS. solution for access to such cloud platforms. as 10 Mbps bandwidth. The footage is As well, Cloud
Load more

Recommended publications
  • 2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
    2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar
    [Show full text]
  • Stxsurreal Partners with Academy Award-Winning Visual Effects Company Dneg to Co-Finance Slate of Original Short Form Vr Series
    STXSURREAL PARTNERS WITH ACADEMY AWARD-WINNING VISUAL EFFECTS COMPANY DNEG TO CO-FINANCE SLATE OF ORIGINAL SHORT FORM VR SERIES First Series in the Slate, THE LIMIT, from Director Robert Rodriguez is set to premiere on STX’s Surreal VR App Launching in Summer 2018 BURBANK, CA – April 9, 2018 – STXsurreal, the VR and immersive content division of Robert Simonds’ STX Entertainment, today announced that DNEG, fresh off of its fourth Academy Award win for visual effects, will partner to co-finance STX’s upcoming slate of premium, original, short-form VR series. As part of the deal, DNEG will exclusively provide STXsurreal post-production VFX and 3D conversion services on a minimum of six projects. The slate will premiere on STX’s previously announced pay-per-experience VR channel “SURREAL,” launching as an app on VR headsets in Summer 2018. “With the SURREAL channel, STX is revolutionizing what it means to create premium, original, narrative VR content,” said Rick Rey and Andy Vick, Co- Presidents of STXsurreal. “By partnering with DNEG, and utilizing their Oscar-winning visual effects expertise, we’re doubling down on our promise to bring audiences a truly cinematic and high-quality immersive experience featuring the most sought-after writers, directors and stars in the world today.” STXsurreal’s slate of original VR programming is being produced in a completely new format that bridges the gap between traditional widescreen and 360-degree video. The channel will kick off with THE LIMIT, a live-action, short-form virtual reality series from award-winning filmmaker Robert Rodriguez and starring actress Michelle Rodriguez.
    [Show full text]
  • Course Overview Tutor's Biography
    VISUAL EFFECTS (VFX) WITH DNEG Course Overview This intensive one-day studio and classroom VFX course is led by award-winning, global animation and VFX company DNEG. This course will introduce you to how a VFX shot is created from inception to final composite, covering pre-production, shoot and post-production stages and includes a hands-on session with a digital stills camera. Head-quartered in London, with offices in Vancouver, Mumbai, Los Angeles, Chennai, Montréal, Hyderabad, Chandigarh and Goa, DNEG is a world-leading company in the fields of animation and visual effects. Tutor’s Biography © Irish Film School PROGRAMME www.irishfilmschool.com 2018Page 1 of 7 The staff at DNEG are highly experienced instructors and trainers. They are trained to deliver “Greenlight”, an accelerated pathway into high-end VFX work. The Greenlight programme is delivered in-house at their offices in London, Vancouver, and Montréal. Awards The company has received four Academy Awards for their work on the films Inception, Interstellar, Ex Machina and Blade Runner 2049. In addition, DNEG has received Visual Effects Society awards for films such as Inception, Sherlock Holmes, Interstellar and Dunkirk, as well as BAFTA awards for Inception, Harry Potter and the Deathly Hallows – Part 2, Interstellar and Blade Runner 2049. In-Production and Current Projects Blade Runner 2049 DNEG are currently working on a large number of film projects, which include: © Irish Film School PROGRAMME www.irishfilmschool.com 2018Page 2 of 7 • Deadpool 2 • Ant-Man and the Wasp • Mission: Impossible – Fallout • Venom • First Man • Fantastic Beasts: The Crimes of Grindelwald • Alita: Battle Angel • The Kid Who Would Be King • Godzilla: King of the Monsters Career Influencers DNEG is a rapidly expanding business and is actively seeking new talent to join their team.
    [Show full text]
  • NVIDIA Quadro Powers All Five Academy Award Nominees for Best Visual Effects
    NVIDIA Quadro Powers All Five Academy Award Nominees for Best Visual Effects "Alice in Wonderland," "Inception," "Iron Man 2," "Harry Potter and the Deathly Hallows: Part 1," and "Hereafter" Nominated for VFX Oscar SANTA CLARA, CA -- This year the Academy of Motion Picture Arts and Sciences expanded the Best Visual Effects category to five nominated films, and it was another clean sweep for films that relied on NVIDIA® technology -- all Oscar nominees in this category were created by studios using NVIDIA® Quadro® professional graphics solutions. Double Negative (DNeg) created visual effects for several of this year's nominated films including "Inception," "Iron Man 2," and "Harry Potter and the Deathly Hallows: Part 1." Central to DNeg's effects workflow is their proprietary fluid simulation system, known as "Squirt," a component of which was recently rewritten to leverage the NVIDIA CUDA™ parallel computing architecture and Quadro graphics processing units (GPUs). "Moving our fluid solver onto the GPU allows our artists to get back the results of their simulations much faster," said Dan Bailey, lead GPU developer, DNeg. "Fluid simulations are now sent to a specialized GPU farm, giving artists more time to iterate and ramp up the complexity of a shot to achieve a more believable result for the big screen." "Iron Man 2" features spectacular visual effects work, much of which was delivered by Industrial Light & Magic (ILM). "Working with NVIDIA Quadro, we're able to work faster and iterate more frequently, which hugely benefits our artists, and ultimately the quality of our project work on films like 'Iron Man 2,'" notes Ben Snow, ILM visual effects supervisor.
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • F9 Production Information 1
    1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ...................................................................................................
    [Show full text]
  • Visual Effects Society & Quebec Film and Television Council Launch 5
    FOR IMMEDIATE RELEASE Visual Effects Society Contact: Naomi Goldman, NLG Communications T: 424-293-2113 or 310-770-2765 [email protected] Quebec Film and Television Council Contact: Aurore Lagonotte T : 438-493-7420 [email protected] Visual Effects Society & Quebec Film and Television Council Launch 5-Part Webinar Series to Destigmatize Mental Health and Provide Industry Support Collaborative Initiative with the financial support of the City of Montreal Features Insights from Leading VFX Pros and Professional Mental Health Guidance Los Angeles (July 7, 2021) – Today, the Visual Effects Society (VES), the industry’s global professional honorary society, and the Quebec Film and Television Council (QFTC) launched Reignite Yourself – Instruments to Face Daily Life, a five-part Webinar series around mental health to support the worldwide visual effects industry. The free, open source episodes feature conversations with veteran visual effects professionals and mental health professionals, providing both personal insights and expert guidance. This video series is the first initiative of the VES’ new global Health and Wellbeing Committee co-chaired by Emma Clifton Perry, VES 1st Vice Chair and Philipp Wolf, VES Montreal Chair. It is part of the QFTC’s Release Your Creativity project, which is made possible thanks to the financial support of the City of Montreal, the NAD-UQAC School, as well as partner studios Caribara, DNEG, Framestore, Method Studios, Reel FX and Technicolor (through its three brands Mikros, MPC and Mr X). Reignite Yourself covers a spectrum of issues around mental health, including dealing with stress and anxiety, dealing with high-pressure situations, maintaining work-life balance, empathy and handling negative feedback and creating a growth mindset through confidence building and motivation.
    [Show full text]
  • Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
    [Show full text]
  • Análisis De La Filmografía De Christopher Nolan
    UNIVERSIDAD DE EXTREMADURA FACULTAD DE CIENCIAS DE LA DOCUMENTACIÓN Y LA COMUNICACIÓN GRADO EN COMUNICACIÓN AUDIOVISUAL Trabajo Fin de Grado ANÁLISIS DE LA FILMOGRAFÍA DE CHRISTOPHER NOLAN RUBÉN BENÍTEZ LLAMAZARES REALIZADO BAJO LA TUTELA DEL PROFESOR: JOSÉ MALDONADO ESCRIBANO CONVOCATORIA Septiembre 2015 ÍNDICE 1. Introducción ........................................................................................................ 3 2. Objetivos y metodología .................................................................................. 3 2.1.Objetivos ......................................................................................................... 3 2.2.Metodología .................................................................................................... 5 3. Estudio del cineasta Christopher Nolan .................................................... 6 3.1. Contexto cinematográfico .............................................................................. 6 3.2. Análisis del director ....................................................................................... 8 3.2.1. Biografía y filmografía ......................................................................... 8 3.2.2. Influencias del director ....................................................................... 11 3.2.3. Premios obtenidos en su filmografía .................................................. 12 4. Análisis de las películas ................................................................................. 16 4.1. Following ....................................................................................................
    [Show full text]
  • PRIME FOCUS LIMITED ANNUAL REPORT 2013-14 for Fifteen Months
    PRIME FOCUS LIMITED ANNUAL REPORT 2013-14 for fi ft een months ended 30 June 2014 MANY DREAMT IT COULD BE DONE OTHERS THOUGHT IT COULD BE DONE SOME PLANNED IT COULD BE DONE FEW WILLED IT HAD TO BE DONE What diff erentiates the doers from the dreamers and the thinkers is their sheer tenacity, gritt y determination, steely resolve and unshakeable faith in their vision, venture and values. In a world that is constrained and confi ned with limits and boundaries, these select few not only dream, but also dare, and do. They keep PUSHING THE BOUNDARIES. In 1995, a group of four started a small business of extending post production services from a garage in Mumbai. PUSHING THE BOUNDARIES of geography, it expanded its presence around the world from Mumbai to 16 cities across 4 continents and 7 time zones. PUSHING THE BOUNDARIES of creativity, it executed some of the most enthralling and fantastical visual eff ects and 3D movies ever seen. PUSHING THE BOUNDARIES of technology, it embraced Cloud to create a pioneering Media ERP (enterprise resource planning) soft ware for managing the business of content. PUSHING THE BOUNDARIES of collaboration, it extended its relationships with top broadcasters, studios, production houses, brands, advertising agencies, sports bodies and other content organizations across all major content markets. PUSHING THE BOUNDARIES of fi nancial performance, it enjoyed the faith and trust of marquee investors. Today, Prime Focus has evolved from a garage to become a global powerhouse of M&E services. AND YET, WE BELIEVE THIS IS JUST THE BEGINNING.
    [Show full text]
  • DNEG to Redefine VFX Services for Rapidly Growing Markets
    DNEG to ReDefine VFX services for rapidly growing markets London, May 16, 2019: DNEG, the award-winning global visual effects (VFX), animation and stereo conversion business, has launched a new offering called ReDefine, to bridge the gap between the East and the West for creative services for film and “Over The Top” (OTT) content for streaming. ReDefine will operate alongside DNEG, offering creative visual effects and animation services to expanding international markets such as China and India, as well as other global independent productions. It will bring local experience, top-end creative supervision and scale to these rapidly growing markets, while leveraging the benefits of access to DNEG’s market-leading technology infrastructure. China is expected to surpass North America as the world’s largest theatrical movie market in the next few years, and demand for original OTT streaming content in India is growing rapidly, driven primarily by mobile broadband usage and lower data charges. ReDefine’s work is being led by dedicated supervisory teams operating from London and Montréal, focusing on creative design and execution. ReDefine will be based in a brand-new studio facility in Mumbai, which will be home to more than 600 staff. DNEG CEO, Namit Malhotra, said: “As part of our vision to build a truly global organisation we are continuing to explore how we work with our partners, storytellers and content makers across the globe. “Our clients’ needs and ways of working in areas such as China and India are often different to those of the Hollywood productions for which DNEG is honoured to have won four of the last five visual effects Oscars.
    [Show full text]
  • Prime Focus World NV Board of Directors' Meeting
    Prime Focus Limited Q2FY15 Investor Presentation February 2015 Q2 FY15 Earnings Presentation 1 Safe Harbor Certain statements in this document may be forward-looking statements. Such forward-looking statements are subject to certain risks and uncertainties like regulatory changes, local political or economic developments, and many other factors that could cause our actual results to differ materially from those contemplated by the relevant forward-looking statements. Prime Focus will not be in any way responsible for any action taken based on such statements and undertakes no obligation to publicly update these forward- looking statements to reflect subsequent events or circumstances. Q2 FY15 Earnings Presentation 2 Agenda I. Q2 & H1FY15 Performance………………………………………4-14 II. About us……………………..……………………………………..15-18 III. Annexure i. Financials…………………………………………….........20-21 ii. Shareholding pattern…………………………………….…...22 Q2 FY15 Earnings Presentation 3 The curtain begins to rise Benefits of 3 landmark transactions in FY15 emerging PFW-DNeg merger (July 2014) • Margins start to rebound – Creative Business EBITDA margin up from 4% in Q1 to 16% in Q2, major integration costs behind, cost synergies starting to Successful integration of accrue. On path to long term target of 20+% DNeg with PFW • Further Integration benefits ahead: DNeg’s Vancouver facility, which enjoys tax credits, goes operational. Training and Business Development across the platforms being aligned with good traction • Revenue enhancement visible with net new contracts signed out
    [Show full text]