As a director, staggering bloodied but unbowed from the wrapped set of your latest project, or as an editor about to enter the fray, we have a fairly strong belief that what you need when moving from production into post is a clear head, relaxed environment and frankly, a bit of peace and quiet.

This is the essence of what Oakslade Studios offers.

So rather than bog you down with technical specs (here if you really want them), we wanted to show you what we think Oakslade is all about. So we made a film about it, and you can find it here on the homepage.

We’re not in Soho, and we think that’s a good thing.

Until you ask someone who does.

Bear with me. It’ll makes sense in a minute.

I had a weekend of watching foreign language movies. It wasn’t deliberate, it just happened to turn out that way. But the ones that I watched all happened to be really very good. Apocalypto on Friday night, The Lives of Others on Saturday afternoon then The Orphanage on Saturday night. The opening of Apocalypto works particularly well. Perhaps they were trying to get over the language barrier (its in Yucatec Mayan), but there’s no dialogue at all for the first five minutes or so. Without dialogue or explanation the editor, John Wright, conveys a huge amount of information simply through judicious shot selection. We spend our days striving to use visual imagery to reinforce our client’s message however it is always worth checking out how our Hollywood cousins do it.

Fortunately we have people here who do that sort of thing for us too.

We’re all pretty excited here at Oakslade at the moment - not only has spring finally bothered to show up (leading to a mad rush as everyone tries to book their summer holiday on the same week in August) but we’ve been playing with a very big, shiny and, quite frankly, groundbreaking new toy.

Our good friends over at AEFilms brought over their RED camera last week so that we could see how to fit it into our Post Production workflow.   It’s fair to say that it’s one of the most eagerly anticipated developments in the world of filmmaking for many a year… and so there are thousands of detailed, geeky blog posts out there if you want to know more about it, but suffice to say that it takes beautiful images in amazing detail and records them straight onto a hard disk - doing away with the need for all those little tapes that end up rattling around in the bottom of the kit bag.

The huge benefit to us editors is that we can then work on the files straight away - no capturing or logging necessary!   And, because the pictures are captured in such high detail, we can really push the boat out when grading, creating graphics or adding that extra little bit of magic to your project (usually the few days at the end of the schedule when we go a bit wild eyed, lock ourselves in our suites and only emerge to demand caffeine).

We’re looking forward to putting the RED through its paces on a couple of shoots we’ve got coming up in Birmingham and the Midlands over the next few weeks, so expect to see a few examples of our footage in the not too distant future - once we’ve wiped the drool off it first!

I was looking for something completely different this morning on google and pretending it was work when I came across this article over at FXguide. The new S4C channel idents will be one of several different live action scenes but will have vfx elements that will change according to the character of the announcer’s voice, much like the levels on a mic or stereo. All of the compositing is done in real time and every single one will be different as it goes to air. A fantastic idea, flawlessly executed.

If you like hearing about how things like this are done, FXguide is an excellent resource and they do a great podcast for the VFX Show over on iTunes. Podcasts are simply the best invention for those people who, like me, walk a dog twice a day.

An interview with Hugh Laurie, still awesome in House, in this past weekend’s Observer magazine mentioned a documentary he did about funerals. The stable lad for the funereal carthorses mentioned that the horses don’t like this sort of work because “the load isn’t heavy enough”. I was reminded of the time I visited the Microsoft computer lab at Pembroke College in Cambridge and saw a supercomputer with 1TB of RAM designed to calculate fluid thermodynamics being used to play minesweeper.

This comes to mind today because Creative Cow sent me a marketing email this morning about the Redbox parallel processing unit. Essentially a render farm in a box, it increases productivity by a factor of 8, where productivity is measured by the time your computers spend doing insanely complex mathematics. We don’t need one at Oakslade because “the load wouldn’t be heavy enough”. We don’t do the sort of processor-intensive graphics, animation and visual effects that would need a Redbox. However every project here does need a certain amount of computer heavy lifting. If HD footage were an object it would be the kind of thing you pass to a friend and go “feel how heavy that is”. And the point comes where the edit is finished but the graphics need to be rendered out one last time, just to be sure, and then the project usually needs to be compressed for delivery. All of this tends to occur as the deep stomach-churning rumble of an approaching deadline gets uncomfortably louder.

Luckily we don’t need a Redbox for this, our gigabit Ethernet network allows for distributed computing power amongst our sleek detachment of Macs to handle the heavy lifting and continued investment in equipment here means that the load still isn’t heavy enough.

Lots of people in the production industry are complaining about the rise of UGC (user-generated content) when they should in fact be welcoming it as the biggest catalyst for the increased use of video since the birth of the world wide web. There’s also plenty of room for creative companies to add value to user-generated content itself.

Our new friends at American Express wanted to reinforce the company’s “win” philosophy for a big conference. They wanted to capture “live” the successes of its sales team as they occurred but the problem was no sensible budget could afford to send camera teams to each of 14 markets for three months to wait for the golden moments.

American Express worked with Fullrange Media to develop a “diary room” approach where team members could self-record entries as and when they had achieved a sales success. Low-cost standard-definition Sony miniDV cameras were sent out across Europe and a web-based instruction video was produced to help people record the best possible entries. Point 1 where our expertise was able to add value to the production of user-generated content: helping explain how to use the kit properly, as well as some of the fundamentals of how to record a good clear video diary entry (there’s a wealth of this sort of thing on the Guardian website from their supplement on Making Video).

The completed tapes were then collated, formated and edited at Oakslade Studios: point two where we were able to really enhance the work the teams had done. By taking the teams’ fantastically raw, natural responses and weaving them together to tell a consistent story we were able to create a powerful and engaging end film which gave American Express a bigger bang for their buck than anything we could have shot entirely ourselves. Audiences who are used to online video are happy to overlook even the most dire technical barriers - so the standard definition source footage wasn’t a problem, especially once a consistent look and feel was added by motion graphics and idents.

And the conference delegates applauded every entry - why wouldn’t they, after all it was their peers who they were applauding (albeit whose efforts we’d enhanced and shaped into being ‘on-message’). Peer-group learning using film - 1. Shiny indulgence of a production company that wishes it was making TV ads - 0.

Following the extensive equipment upgrade over the past six months, topped off with our recent purchase of Episode Pro software that allows us to encode commercials for broadcast, we found ourselves in a recent edition of Broadcast magazine. Getting recognition from the industry magazine, particularly when our industry is so London-centric. is always extremely valuable. And of course it validates our own reasons for running a facility away from the noise and haste. Soho’s not the only game in town.