By Mel Lambert
The fourth annual Media Production Show, held June 11-12 at Olympia West, London, once again attracted a wide cross section of European production, broadcast, post and media-distribution pros. According to its organizers, the two-day confab drew 5,300 attendees and “showcased the technology and creativity behind content creation,” focusing on state-of-the-art products and services. The full program of standing room-only discussion seminars covered a number of contemporary topics, while 150-plus exhibitors presented wares from the media industry’s leading brands.
During a session called “The State of the Nation: Post Production,” Rowan Bray, managing director of Clear Cut Pictures, said that “while [wage and infrastructure] costs are rising, our income is not keeping up.” And with salaries, facility rent and equipment amortization representing 85% of fixed costs, “it leaves little over for investment in new technology and services. In other words, increasing costs are preventing us from embracing new technologies.”
Focusing on the long-term economic health of the UK post industry, Bray pointed out that few post facilities in London’s Soho area are changing hands, which she says “indicates that this is not a healthy sector [for investment].”
“Several years ago, a number of US companies [including Technicolor and Deluxe] invested £100 million [$130 million] in Soho; they are now gone,” stated Ian Dodd, head of post at Dock10.
Some 25 years ago, there were at least 20 leading post facilities in London. “Now we have a handful of high-end shops, a few medium-sized ones and a handful of boutiques,” Dodd concluded. Other panelists included Cara Kotschy, managing director of Fifty Fifty Post Production.
During his keynote presentation called “How we made Bohemian Rhapsody,” leading production designer Aaron Haye explained how the film’s large stadium concert scenes were staged and supplemented with high-resolution CGI; he is currently working on Charlie’s Angels (2019) with director/actress Elizabeth Banks.
The panel discussion “Women in Sound” brought together a trio of re-recording mixers with divergent secondary capabilities and experience. Participants were Emma Butt, a freelance mixer who also handles sound editorial and ADR recordings; Lucy Mitchell, a freelance sound editor and mixer; plus Kate Davis, head of sound at Directors Cut Films. As the audience discovered, their roles in professional sound differ. While exploring these differences, the panel revealed helpful tips and tricks for succeeding in the post world.