Cinesync alternative software#

On the other hand, the time, energy and money lost in miscommunication and misunderstandings can be even worse. On the one hand, the time, energy and money lost in constantly traveling to try and supervise work in progress can be prohibitive. Being able to see exactly what your collaborators are seeing is vital to clear communication, and it’s really not practical or possible to always be in the same location. Even just within Los Angeles it can be a solid 90-minute drive each way between Hollywood and Burbank or Santa Monica. In the earlier example, Rising Sun Pictures is based in Adelaide, South Australia, but they are only one of dozens - hundreds - of VFX facilities around the world who need to work with people in other locations. Even before we’d released a formal beta version, we were reading reports of Steven Spielberg using cineSync on War of the Worlds.īy the time we’d released the more polished, commercial version of cineSync in November 2005, it already had a lot of buzz and a very loyal user base.Ĭan you talk a bit more about the need within the industry? Industrial Light and Magic - which was also working on Harry Potter at the time - embraced cineSync right away. Decisions could be made with confidence during reviews, because the feedback was clear and in context. They could point to something on the screen and say “change this” and everyone could see exactly what they were pointing to. Suddenly people could see the same thing at the same time, no matter where they were. It was crude, but the effect was revelatory. The initial prototype of cineSync, built over a weekend, was essentially a QuickTime player hooked into some chat room code. Tony Clark, the co-owner and co-founder of both RSP and Cospective, basically just said, “It shouldn’t be this hard. No one was quite sure what anyone was looking at, there was constant potential for miscommunication and it was hard to get absolute decisions on work in progress. They were trying to run reviews with folks in the UK and the US and were becoming increasingly frustrated with the process. Rising Sun Pictures, a visual effects company with which we are closely associated, was working on Harry Potter: The Goblet of Fire and Superman Returns. We first released cineSync officially in late 2005, but its genesis came a year earlier. What is the genesis of cineSync? When was it introduced? I think having a great love for post production in general really helps us to develop the best tools - without the technology getting in the way. It’s about simplicity, reliability and effectiveness.

Cinesync alternative software#

I have a good understanding of what people need from software in this industry and it’s not all about features. As a result, when I came to Cospective, it was very much from a post production workflow background - not from a software background - so my focus has always been on usability and practical application. I spent close to 10 years working in audio on feature films, as a mix engineer and sound editor as well as a facility manager, so I was also surrounded by picture editors, VFX artists, producers and directors. How does that help you steer the company? You have a background as an audio post pro. I reached out to CEO Rory McGregor to find out more about their company, the thought process behind the development of their tools, and the industry in general. This one, called Frankie, is designed for spots, music videos and other short-form productions. Well the minds behind the Academy Award-winning cineSync technology have introduced another tool targeted at in-progress reviews. So, users solving a problem by developing their own solution. Back then the company was called Rising Sun Research, which grew out of VFX studio Rising Sun Pictures. cineSync has been used on some big-name film and television projects (Christopher Nolan is one outspoken fan) since its introduction in 2005. Many of you are likely familiar with the remote review and approval tool cineSync from Australia-based software company Cospective.