The rotoscoping, clean-up, upscaling and de-noise you already pay tools for, evaluated on a sequence you delivered. Supervisors judge the shots, and your finance team the total cost.
Prefer email? hello@azitalabs.com, subject “Workload evaluation: VFX & post”
Every feature film or OTT show brings long shot lists of roto, clean-up, upscaling and de-noise, and the delivery date does not move. Artists spend their nights on passes that follow the same steps shot after shot. Client MSAs lock down where the footage may go, and most tools fail the content-security clauses your auditors check.
An example workflow
Feature work means clean plates and roto on long shot lists, often overnight. An evaluation could take one delivered sequence, run the roto and clean-up passes, and let the supervisor compare them with the finals and the total cost of each route.
An example workflow
Streaming deliveries need upscaling and de-noise, and the client MSA restricts where footage can go. An evaluation could run a representative set of shots on an installation in the studio or wherever the MSA allows, and compare the passes and the total cost.
An example workflow
Commercial work needs background plates and clean-up on a tight schedule. An evaluation could take one finished commercial's shots, produce the plates and clean-up, and set the supervisor's review next to the total cost.
The evaluation works on shots you already delivered, and your supervisors decide whether the passes meet your pipeline standards.
Passes come back into your existing review queue and are judged against the approved finals, shot by shot.
Roto, clean-up and upscaling compared as one job, next to the tools on that work today.
Run your workload on capacity from Azita’s installations. Scope the workload and data requirements.
Discuss your workload on the fleetScope the room and workload together. Azita designs, installs and commissions the deployment.
Discuss an installation in your buildingWhere the work runs, which models are used, who has access and how long anything is kept are agreed in your proposal before any work starts. The Trust page sets out custody and residency by side.
Agree a representative job and the acceptance criteria. Compare the output, turnaround, data requirements and total cost before deciding.
Available to evaluate on your own workload.
On the Azita fleet, or on an installation in your building.
We'll review what you need to run and contact you to discuss the right setup.
There is no price list. Your proposal states what is being quoted, the commitment and what is included. Human review, software licences and integration are listed wherever they apply.
Add what you pay for today. It travels with your enquiry as a note, so the comparison starts from the same work.
Prefer to read first? How pricing works
That is what the evaluation decides. Your supervisors and creative directors review the roto, clean-up and upscaling passes from one delivered sequence against the criteria they set. If the work does not pass, nothing moves.
Bring one delivered sequence, with its shot list, and what the tools on that job cost today. We agree the acceptance criteria and the turnaround, produce the roto, clean-up and upscaling passes, and set out the output and total cost side by side.
Your compositors and colourists keep the brief-to-shot process they have. The passes come back into your review queue for approval.
On the Azita fleet, or on an installation in your own studio. Where your footage is processed, who has access and how long anything is kept are agreed in your proposal before any work starts.
Proposal based on your workload and deployment. It states what is being quoted, the commitment and what is included, and lists human review, software licences and integration wherever they apply. There is no price list.
Term, exit and what happens to your footage at the end are set out in your agreement before you sign.
Related
Use case
Film & post-production
From queued shots to roto, cleanup and upscaling passes for artist review.
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Agencies and studios
Client work at campaign volume, evaluated against your clients' standards.
The page for every kind of work in this group, and how an evaluation works.
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Also for
Ad film production
Storyboards, previs, grades and cutdowns, evaluated on an ad film you already finished. Compare the output and total cost before you switch.
Read
Send a campaign and its deliverables list. We agree the acceptance criteria with your creative leads, then compare the output, turnaround and total cost.
Arrange a workload evaluation