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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Quine & QuineCore @ around the globe


Shuuto produces, delivers and sells Outlier (8x 45 minutes crime) to HBO in 5 months, using QuineCore for asset management and collaboration.
Back in June we were approached by Shuuto. They wanted to produce a crime-series in Northern Norway with:

• As small crew as thinkable on-set for security reasons.
• Editors in Oslo - 1650 KM away
• Composer VFX and online spread out over the country.
• Rough-edits from the previous day needed to be available to the directors the next day.
• Multiple small units shooting simultaneously
• Masters were to be delivered late October and the series should be aired by November.

That sounded insane. So we said YES! This is exactly a scenario we think QuineCore enables.

Now Outlier is ready for airing, and has been bought by HBO Nordic, in addition to distribution to several international clients.
Here is the story on how it was made and a breakdown of the tools used.

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2020 has been a crazy year for Quine. We have finally launched, we have won our first international public tender, and we have started to serve productions the way we imagined 4 years ago. Despite Corona and an 8 month hiccup on our onboarding scheme, we have served 20 productions with 192 deliverables (as in feature films and TV-episodes) this essentially non-normal year, and because of Covid, companies have really opened their eyes to the advantage of flexible solutions that let people work where they are, slim sets, tight budgets and structured file-exchange, which we started preparing 4 years ago.

We work with broadcasters and smaller production companies, but our focus with all clients is to serve the best possible vertical solution for their production, collaboration and control needs.
Please leave a note if you want to have a go with Quine's groundbreaking tools for Production Asset Management and collaboration from ingest, through dailies filexcheng, editing and final delivery.

Quine's vision is that QuineCore enables new and better ways for:
HOW people work within a production
WHAT is possible to do
WHO can make quality productions
 
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So Gunleik, what did you and Quine do the last 4 years, really?

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And how do your users feel about that?

https://www.youtube.com/watch?v=NKhdht8eIJY&feature=youtu.be

I guess you are looking to expand?

Sure...


I guess next time I hear about a company "suddenly breaking", I will think of those 4+ years of crazy dedication it took to make this sudden disruption in the force...
 
I often get the question "why is QuineCore different from X"?

When setting up a fully virtualized workflow today that will be running for the next 6 months, the answer was kind of screaming in my face:

We can do this today

QuineCore has all the tools needed embedded in one workflow tool with one user management and one platform for all metadata and file-exchange.

That's why we aren't another: dailies/review/copy/transcode/something solution, but a flexible workflow tool stretching from just copying files, to full virtualisation. Today and we can take in broadcaster, films and industrial partners into the same infrastructure and normally set up a workflow for all users and the complete lifespan of a production over a very short timespan.

Of course we will get better, but we have come pretty far.

See what our users say here:
https://youtu.be/NKhdht8eIJY

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If you are interested in a run-through or want our Deck or OnePager, please take contact in PM
 
A huge shout-out to Adobe for this article of how Outlier used collaborative tools like quinecore and AdobeTeamsProject to produce the HBO and AppleTV distributed series now sold to more than 20 regions and is taken to the Berlinale by the NFI

Read the article here

It's really a great walkthrough of some of the tools collaborative cloudbased tools in quine's solutions and how this enabled to efficiently produce 8x45 minutes of scripted drama in 4 months with postproduction scattered all over NorthernEurope.


Whether you want to run a production fully virtualized or like Outlier, in a distributed datamodel, uine has the tools to get you up and running.

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We are proud to have continued to collaborate with Shuuto on new productions

Outlier used the QuineBox™IoT and it's direct integration with QuineCore to manage shooting and progress with multiple units.
 
Would like to know if the proxies can be changed on the cloud by the color grader and updated in the editor timeline?
Or you need to nail the look on set with a DIT?

How does your solution differ from Frame.io C2C?

Thanks
Patrick
 
Glad you asked.

I don't know everything about frame.io, outside I know it is a great and popular tool.

I have a hunch around what Quine does and you can fill me in.

First:
Proxies can be re-graded, re-framed or re-anything and dynamicaly and automatically be replaced everywhere automatically including in the editor application.
(I should make a video on this. Thanks for reminding me.)

The box and C2C shares a few functionalities.
QuníneBox™IoT was initialy made to record 3x 1080 streams in multiple codecs, streaming and distributing that content on the fly with a rich frame synchronized metadataset.
Not sure about the specifics of C2C, but we could record h.264 and say prores on the fly and then ship them (and technicay replace them) as you go.

QuineCore vs frame.io are very different beasts as far as I can understand. But again, I may be wrong.

Quine manages ALL assets including pdf's, location scouting, casting and when shooting starts: ingest/transcode from prep, through editorial and to delivery and integrate on a user-profile base with with all functions in a production.

It is a review and dailies functionality in there, but those are important "user-profile" functionality, not "the system".

Because we are ActiveDirectory based, we can integrate with larger organisations user- and securtity solutions, and let the organisations keep their existing usermanagement, user databases and security rules and just deploy what they have directly into QuineCore.

Otherwise you would need security and usermanagement for say:

Ingest/Transcode
Local assets
Dailies
review
Aspera/Signiant
etc etc etc.

Single sign-in means a lot when you produce a lot.

We work towards integrating all file-management and user-management for productions from planning to master-delivery within one system, so that you don't need 7+ tools and 7+ specialists to do what is "essentially the same thing".

This approach is what is making it possible for us to onboard some large producers.

We try to simplify the entire process and make things like VFX delivery a user-managable task, either through letting the house pick their own plates or conveniently let the editor send off files (like mic in camera) as they go.

We assist ingester, logger, editor, producer, clients, and partners with automated, secure datamanagement and flow with their applications and if neccessary between the houses, or these days: Their homes.

Business wise, we can sell QuineCore as an application on oure clients Azure, not forcing them to put their most valuable assets: The files, with us.

What this means is that the clients own their own assets and security and again easily can sync with their existing usermanagement and security regime. AD is the industry standard for security and serves Disney, HBO, Broadcasters to name a few.

Expense-wise, that is huge.

Our management in the webUI is categorized and that we 100% can control who has access to what and what they can do with the data itself or enclosed metadata.

We parse the files on ingest so that all critical file-info is available at any stage in the process.
Integrate with on-set scripting tools and mix and match the scriptnotes automatically with the files

We let you send all that to premiere, and automate the review file management, and can of course can get the notes framebased back to Premiere.

That is why we can serve as the production asset management, collaboration, dailies, review, VFX integration tool for larger clients and automate a robust home-edit solution (like in this example) or fully virtualized productions (where everything resides in the cloud, including the tools).

One thing I know is very different, is that we are very flexible as to how and when what data is uploaaded to the cloud.

In our experience it is not true that there are 10gbit ethernet lines everywhere. So you can for example ony copy and transcode on-set, and then upload the dailies when you get home and the originals as needed.

Because the cloud transactions happen (mostly automated) through QI instead of web solution, they are all fast, verified and structured and checksummed in all transactions, downloads are structured and:

yes we can replace a clip with the wrong LUT in the entire chain and into the editor program.

I guess some of the background differences is that we started off with 4 years of research on metadata management, automation and the technical challenges of multi-user exchanges with the like of EBU, technicolor and multiple others before we made our first web button.

It is possible that I am all wrong about this, and frame is a lovely review tool and they now have a way to get files from camera to cloud, which we have had in productions since 2016 (that is before we decided to form Quine.)

Simply put, we can automate and set up workflows like the one in the image and let it be user-management.

You can use Aspera with us, but it is not a requirement.
That is true for a few other tools needed to securely manage production data.

We do serve both scripted and non-scripted productions, but I would guess that is true for both applications.

I have two analogies I use for Quine when talking to non-industry people:

We're like Amazon: A seamless infrastructure solution. that gets the right assets and right metadata in the right version to the right user

We're like an automated gearbox
Very few actually can fix it, even fewer can create one.
But you don't need to know the inner mechanics of an automated gearbox to drive a car.

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If there is some difference between frame.io and us, I guess you'll have to fill me in.
 
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Excuse me for a technical rambling, but as a guy who comes from music, both as a performer and compositor, who somehow went astray into the world of imagery and in a way have come to lead a team of IT guys, I sometimes feel very much lost when dealing with the art of cooperation and creating a common language.

And then I stumbled across this:


https://youtu.be/FL4LxrN-iyw

Not really Quine related, but definitely philosophically "right" to me in the role I currently have and in the way I hoped all creative cooperations could practically work.

People just spend too much time on showing off other peoples wrongdoings over making their own common efforts work out.
 
Just a quick update on our latest feature.

Live logging.

All keyboard based.

Giving you the most lovely printouts.

Took a week more than we hoped to get into the field, but now it is.

Dynamic updates into Premiere.

Incredibly proud of the code making all this automated markup possible in the background, gotta say.

Nonscripted is by now 3/4 of our business, and this is such a key feature for that.

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So just to be clear:

This is a manual editing tool that can accept API based input.

the reason is simply that I come from a place where the dialects are too many and the language is too small to ONLY trust AI based transcriptions.

But we CAN accept AI based transcriptions into this tool
 
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Having spent a couple of hours with a graphics designer, I have come up with an idea:
Production of films and TV is pretty complex stuff, even if you understand what it takes.
QuineCore makes that significantly easier

That's it pretty much.
Now, sign up ��
 
Roughly a year ago #QuineCore was out of beta and the production world was slowly opening again.
It's incredibly cool to see that we a year later have more than 50 times as many active concurrent productions as a year ago, being promoted by #Adobe and solving #cloudbased production including #homeediting for a weekly growing number of #production #houses.
Not least have we needed to figure out a way to sell this thing. To answer what the cloud costs for a production, is sort of "pick a number". The cost can be close to 0, but it can also be "a lot" depending on the services you use and how you use them. Then add that investors wants to se a 10x markup on the cloud pricing for a #SaaS solution... Which on one hand explains some of the pricing you see on solutions, but simultaneously, that model is practically preventive for the end-user to take out the gains of cloud-based collaboration, whether you want a full "self serviced" solution for all assets, or just the cheapest possible preview videos for collaborative discussion and editor integration.
We designed QuineCore ambitiously in a way where we think most producers from the big-name tentpoles to the independent crazy ones can take the benefit, and we found a way to give that benefit to our client by... simply NOT selling the cloud.
Sounds simple, but that seems to be the ultimate win/win.
The clients owns their own cloud subscription and can themselves decide how much they want to put in the cloud and thus have 100% control of their own cloud costs and own all their own data, while we instal QuineCore on their subscription and bill for our services only on fixed 12-month contracts.
No limit to number of users or end-points
No limit to number of productions
You can use it to exchange EXR's with your VFX house, or only to preview h.264's
We combine all tools needed to manage, communicate, share and interact with your data from ingest to delivery in one tool with one AD based user-management. We just adapt to the clients user db and security regime.
We started off with scripted productions, but have had a lot of traction in non-scripted lately, not least because of our transcription and live-logging tools that integrate directly with Premiere without roundtripping with XMLs.
This model of one integrated tool, one integrated user database, one integrated security regime and not hijacking the clients data as collateral, seems to solve some significant issues many potential users have with cloud based solutions.
We're scaling up and are ready to welcome new users on all continents from august. If you want a taste, reach out to me.
Here's an interview with Magnus Berggren that Adobe set up after the inconspicious and crazy production company Shuuto reached the world with their production Outlier last fall:

https://www.youtube.com/watch?v=zKEfagtLdqo&t=3s

 
Looking for pilot clients and evangelists in:

US
UK
Germany
Asia except China

We were out of beta a year ago ad have been acquiring producers steadily the last year.

As covid lets its grip go, the most obvious use-case we look for are producers who shoot far away from the editors who want to dramatically decrease turnover time, avoid moving people around more than neccessary and with tight deadlines.

It does not matter whether you are on Premiere or AVID or Resolve for editing.

There are no limits/price associated with #number of users.
As we are ActiveDirectory based most mid-to-large size users can take advantage of our model that lets the user own their assets at any given time and that security and security management is the exact same as their existing security and user-management.

Push me a mail to:

gunleik@quine.no
 
In structuring scripted and non-scripted productions alike, using the "Unit" filter at ingest and when importing assets into your editor, simplifies and saves hours of time in all key processes.

This is how to do it with QI and QuineCore.


https://www.youtube.com/watch?v=efTx2mU4POw
 
Selectively download assets from QuineCore

QuineCore has lots of tools for automatically downloading the files you need as they get ready, but what if you just need a few of them, but spread over the entire production?


https://youtu.be/S-dskt_yULs
 
I have tried in different ways to explain the difference between Quine and others, and the best analogy I have come up with is 1908
If you in 1908 wanted to fund "selling cars", what would your bank be most responding to?
Either a focus on the horse stables and their personal and goods transporting business case , including people who really know horses (horse-whisperers etc), stables and the right amount of salt per week.
(this can be modelled)
Or clients who just want to move themselves between a and b (this can not be modelled, as these customers would never buy a horse)
"some solutions" are "a better way of feeding the horse". This gives good advantages in the horse economy with deep respect to all the problems connected with running horses to do "other stuff"
Quine's approach is more like:
Horse?
Why do you need a horse?
Take this car instead and do it yourself.
 
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