Being told that you’re going to assist in upgrading two of your favorite TV shows to HD brings a level of excitement that’s matched by an equal amount of fear. George Hoover, CTO of the production company NEP Studios, described the pressure aptly in the recent CIO Magazine article, Moving the Daily Show and Colbert to HD: 5 Change Management Lessons: “The world expects that TV shows will start when you expect them to start.” Couple a short window of downtime with the uncertainty of new equipment and unproven workflows, and one begins to wonder if a fluid upgrade is even possible.

Fortunately Control Group’s approach to formidable projects allowed us to complete the project smoothly and on schedule. As noted in the aforementioned article, the trick is to break everything down into manageable tasks, and identify which of those tasks are best addressed with technology, rather than manpower. The workstation setup for the two shows illustrates the benefits of this approach nicely.

The Colbert Report and The Daily Show needed nine new workstations set up for the artists, including installing several 2D design suites, 3D design applications, and a host of supporting plugins. Several render farm servers had to match these workstations setups so that the creation of HD elements could be distributed. Since this is a fair amount of equipment to arrange, we wanted to first be sure that the artists would be comfortable in their new environment. We created a “perfect” workstation for each show, and invited the end users to try them out at our office.

After making a few adjustments based on user feedback, we duplicated these master machines to their brethren using OS X’s excellent Apple System Restore utility. Used in concert with a networking technique known as multicast, we were able to get all of the workstations set up simultaneously, saving countless hours of manpower.

The time savings allowed us to get a jump on the real time sink of setting up design workstations – installing plugins. Due to the way many plugins are licensed, the installations had to be performed individually as each user. A team of Control Group employees attacked the 225 some-odd separate installs, completing them over the course of a day or two. Afterwards, specially crafted project files allowed us to test all the workstations and render nodes in a single shot, ensuring that the artists wouldn’t be confronted by a licensing dialog at show time.

As demonstrated at The Colbert Report and The Daily Show, a carefully planned approach allowed Control Group to assist NEP in completing their HD rollout on time and within the budget allotted. The satisfaction of watching both shows in full frame 1080p HD has been well worth the effort. (Getting to hear Stephen Colbert riff on an auto-tuner backstage wasn’t half bad either.)

Here’s a clip of Stephen Colbert enjoying the new HD setup.

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