Not too threatening
Under the hood Moxion has been built from the ground up, including its proprietary video player. It offers plenty of powerful bells and whistles, like the ability to comment and draw on images, “features that appeal to DIT and VFX types”.
At the same time, it’s “not too threatening for producers” who want to review footage rather than drill down into the depths of the data.
“We are able to get footage to anyone in the world, quicker than any other method, and the security that is built in means I feel safe doing that.”
David Ross, Post Production Supervisor, Power Rangers
That data, the metadata in particular, is an important part of the Moxion build, and one which makes life easier. Filthy Rich, about which Peter Parnham writes elsewhere in this month’s issue, used Moxion and created 18,000 assets. One of the great things about the system is the ability to search by metadata. Want to check everything shot for a particular scene, or location, a particular day’s shooting, or all of one actor’s performances? Courtesy of the metadata, that can be done – quickly, simply, and securely.
Deathgasm, Mahana, The Wonder and Hunt for the Wilderpeople used Moxion. The company has recently done the deal that will see them deliver NZ dailies for the second season of Starz’ Ash vs Evil Dead.
Always happy to support the local production community, Calveley and Lonsdale credit that community with helping Moxion’s development. “There’s a lack of guile,” Lonsdale put it diplomatically. People’s honesty was helpful in refining the product.
The notoriously average NZ internet also indirectly offered some benefits during development. “The system for upload and playback is robust and fast here,” Lonsdale said. The uploader is robust and manages connections – even not so good ones. Using the same concept as for torrents Moxion splits up files and puts them back together, and will resume an incomplete upload – something anyone who’s ever uploaded material to YouTube or vimeo will appreciate.
Overseas it’s blazingly fast, and the introduction of the H.265 codec, designed to be twice as efficient as H.264, means even faster delivery.
The next step is to integrate Moxion with QTake. Once that’s done a take will be uploaded and viewable within two minutes of being shot, something that should be especially appealing for inbound and co-productions.
As well as the opportunity to work on Ash vs Evil Dead, Calveley and Lonsdale have plenty of invitations from overseas to follow up on. Moxion has already done some work with some companies that have been here to shoot. While there’s no plan to move on from Auckland, where Moxion is based at incubator Astrolab, it’s clear that the earning opportunity is obviously an international one.
Keith is the editor of SCREENZ, and the co-creator and founding editor of CREWED.
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