Producing Commercials: Production house – Nice Shoes
Where’s the remote?
By Michael Fickes
Nice Shoes has modeled itself as an end-to-end production and post-production house out of necessity. “We’re in a world with low margins and tight budgets,” says Chris Ryan, a partner and colorist with Nice Shoes. “Survival in this world means controlling the costs from beginning to end. You cannot get into a bind where the visual effects group looks at the digital footage and says ‘this was shot wrong.’ That would double the cost.”
Houses that just do VFX—or just one of the other services—can get into trouble without doing anything wrong, continues Ryan. Geography can affect the use of services by clients. Clients in Minneapolis or Dallas might decide to handle some of the VFX, color grading or other work locally.
To deal with such contingencies, Nice Shoes has set up Remote Color Services in suites at studios of trusted editing and post-production partners across the country. The remote services began by providing color grading for clients that didn’t have the budget to make a trip to New York and lacked local facilities.
To view examples of Nice Shoes’ remote work, check out a Syngenta spot color graded by New York-based Lex Rudge in a remote session at Volt Studios in Minneapolis: http://www.niceshoes.com/portfolio/?post_id=4341.
Nice Shoes Colorist Ron Sudul collaborated on a McDonald’s spot locally and remotely at Republic in Dallas. See the finished piece at: http://www.niceshoes.com/news/?post_id=271.
“Nice Shoes Remote Viewing can be used in conjunction with any Nice Shoes creative offering from visual effects to color to finishing,” says Robert Keske, the firm’s chief technology officer.
Keske developed the service with Nice Shoes’ engineering staff. “We can broadcast multiple, real-time, viewing streams from a single live session in New York to numerous, different locations,” he adds.