![]() There is no video streaming involved and no media ever passes through our servers, so no one at Cospective ever has access to review content. Each person in a cineSync session is reviewing a local copy of the media – cineSync simply synchronises that copy in each location. With cineSync, there is no third party file hosting – the facilities that generate the content, maintain their control over the content. Any time studio files are held by a third party, there is the potential for disclosure and leaks. In a cineSync review, you can ask them right away, and they can show you exactly what they mean – in real-time. How often have you received feedback from someone, only to think “what do they mean by that?”. Wipster and Frame.io both allow users to make notes against specific video frames, but fall a long way short of being able to actually discuss the issue at hand. The first is live, interactive, synchronised review. Rory: There are two major differences between cineSync and other known review tools. Larry: There are several well-known review-and-approval titles in the market, including Frame.io and Wipster. By jumping into a cineSync session, they were able to review work in a timely fashion, without any miscommunication – and were able to meet their schedule as a result. For example, the dragon assets created by Image Engine would often appear in shots that other vendors had worked on, so multiple artists would be involved with the iteration process. Using cineSync, showrunners could also remotely collaborate with an expanding number of VFX vendors – sharing shots, annotations, and notes across a wide array of international locales. Users were able to draw on-screen, highlighting areas that needed to be destroyed – where to add fire, smoke, ashes, etcetera. In particular, the King’s Landing battle of season 8 went through several iterations in cineSync. cineSync allowed these far-flung teams to have a live conversation – as close to being in the same room as is possible – while looking at high resolution video. Shooting took place in Iceland, Croatia, Ireland and Spain – often simultaneously. Their production office was based in Northern Ireland, while HBO is headquartered in LA. Rory: HBO has relied on cineSync for every Game of Thrones season to date. Larry: For example, what did you provide the editorial team for “ Game of Thrones?” cineSync also integrates with other industry-standard applications such as ftrack, Shotgun and NIM (for production tracking and asset management) and Aspera (for file transfers). It allows users to review work in progress, playback video, make text notes and draw on the shots – all in perfect sync with anyone, anywhere in the world. cineSync is one of our software solutions – it’s a synchronised, interactive review and approval tool. We want to provide the tools to make life easier for those who work around us. Everyone who works here has come from a background in visual effects (VFX), post-production, games or music, so we know the industry well. Rory: Cospective is a company that makes software for the film industry. Larry: Rory, how would you describe your company and cineSync? The company is based in Adelaide, Australia, so I reached out via email to Rory McGregor, CEO of Cospective, to learn more. Originally spun out from visual effects boutique Rising Sun Pictures as Rising Sun Research, they changed their name to Cospective in 2012 to better reflect the broadening nature of their business. ![]() Recently, Cospective showcased how their products helped the editorial teams at “ Game of Thrones,” Avatar,” “ Lord of the Rings” and others to review, annotate and discuss their shots in real time. ![]()
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