Still unsure about cloud editing? Read this..


Stephen Streater TV-Bay Magazine
Read ezine online
by Stephen Streater
Issue 97 - January 2015

For all the talk about the cloud in the past couple of years, it can still be a bit of a mystery. When it comes to editing video in the cloud, some people still struggle with the concept. Is cloud editing secure? Do I need special knowledge? Why switch from traditional editing workflows? Won't cloud editing use a lot of bandwidth, especially with 4K video? Those are fair questions, and ones that often keep people from incorporating the cloud into their workflows.

The truth is, with a well-designed cloud-editing system, you don't realize you're working in the cloud. You're just ... working. The system can be just as responsive and powerful as an on-premises one, but with all the benefits of the cloud - unlimited storage and computing power; automatic upgrades with no need for supercomputers or special hardware; compatibility across platforms; remote access for anyone you allow; and easy integration into existing workflows and services. You can view, comment, log, search, edit, publish, and archive your media just as you've always done, but do it more quickly and efficiently in the cloud.

Big Advantages in Broadcast Workflows

Cloud-based systems can make all the difference in broadcast post-production by serving as a complement to the standard NLE systems prevalent in these workflows. Forscene is used extensively to prepare for the craft edit - particularly on quick-turnaround projects, productions with a high-shoot-ratio, or when people need to give input from various locations.

Forscene frees production teams up from linear processes - now shoot crews can use the cloud to share footage directly from location with team members anywhere in the world. This means that post-producers can influence the shoot while it's ongoing, loggers can start assigning metadata to the footage so that it can be searched easily, and story producers can start putting rough cuts together before the shoot even finishes!

There are no specialised hardware or software requirements to use Forscene and users anywhere in the world can be given access to an account within minutes. No more couriering DVD's to clients for approval, no more booking edit suites for reviews. Forscene's integration with leading NLEs means that your sequences can be exported and auto-conformed against the high-resolution source in seconds - giving you a head start on your craft edit.

Similar Advantages in Live Sport Workflows for the Web

Unlike in broadcast workflows, where the aim is to quickly and efficiently lay the groundwork for finishing in the edit suite, sport workflows have a different goal: Publish the content as quickly as possible. With Forscene, live feed proxy streams from multiple cameras are available to edit while they are uploading to the cloud. Editors can view and use the material they need for highlight clips or packages and publish directly from Forscene to their CDM. Forscene references the original high-resolution source when it publishes.

A major advantage of using Forscene in sport workflows for Web distribution is that, instead of sending multiple editors to the events to get the data, you put the data in the cloud and leave the editors at home to work in their local offices - saving travel expenses, overtime, and the stress of being away from home for extended periods.

Low Demand for Bandwidth, Hardware and Storage


When it comes to bandwidth and hardware, one might assume that cloud editing would require lots of bandwidth and a powerful (read "expensive") computer, especially when working with 4K, but that is not the case. While it is possible to upload and edit in 4K in the cloud, it's generally unnecessary. For most of the process, standard definition is sufficient. In the same way that you would normally work with lower resolutions during an offline edit, the standard Forscene workflow is based on uploading proxy versions of your content into the cloud - enabling you to work on a standard computer over a normal Internet connection.

Superior Security

In terms of security, the cloud is actually more secure than the average local device. With so many people working from home or in the field; on a myriad different computers, phones, and tablets; on different platforms; and on different networks, it can be difficult if not impossible for a media company to ensure every device and every file is protected all the time - a task that could distract media creators from the job at hand. In contrast, cloud suppliers are IT experts who are clued in to the latest security breaches and will attack them immediately as part of the cloud service - leaving the media companies free to concentrate on turning out creative content.

Cloud systems are generally password-protected and backed up regularly, and with the right solution, the program resides only in RAM on the user's machine - project media isn't stored on the local device. Once the user logs off, the RAM is purged and saved edits are backed up automatically in the cloud.

Easy to Access. Easy to Use.

Tapping in to the right cloud platform for editing is rather like tapping in to the Hoover Dam for electricity: You get a mighty, reliable, secure source of power with economies of scale that let you operate more efficiently and at lower cost than generating your own electricity. Like plugging in a lamp, you just log in to the platform, and you're connected via the Internet to the massive power of the cloud.

Which leads to the next point: When you have the right cloud-editing platform, you don't need IT expertise to make it work or hours (or days!) of training to understand it. You just need to know how to edit. For example, unlike other NLEs or other on-premises systems, which can require significant setup time to integrate into your existing workflow, Forscene was designed to be configured quickly and used immediately. Users will find the new interface intuitive and similar to that of other popular NLEs, with features that are powerful and responsive enough for savvy professional editors, yet simple enough for producers and directors. If there are questions, users can access training videos and live, interactive online support 24/7 directly from the interface.

Still Unsure?

It might be tempting to stick with the status quo rather than making the move to cloud editing, but consider this: Shunning cloud editing in favor of a workstation is like shunning a car because you can walk wherever you need to go. Sure, you can walk, but driving is much faster. By the same token, you can keep editing on your desktop, but cloud editing will get the job done much more quickly and efficiently.

Plus you get benefits that a hardware solution just can't provide: Immediate, all-hands access for better collaboration; enhanced security; infinite scalability without spending time and money on upgrades and system maintenance; and pay-as-you-go service rather than capital investment. With Forscene in particular, you get the freedom to work from any device anywhere over a standard Internet connection, with no need for a special machine or knowledge. And proxy upload and editing means you can sift through high volumes of content more quickly using less bandwidth and storage. All of those factors lead to less time being wasted in high end edit suites and more time being creative.


Tags: iss097 | cloud | broadcast | workflow | editing | post production | Stephen Streater
Submitted by Stephen Streater Read this article in the tv-bay digital magazine
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Tags: iss128 | cuescript | prompting | prompter | ptz | ip | Brian Larter
Submitted by Brian Larter Read this article in the tv-bay digital magazine
There is no where to hide from cybercrime
Mark Harrison The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.
Tags: iss128 | dpp | cybercrime | microsoft | azure | tinopolis | security | Mark Harrison
Submitted by Mark Harrison Read this article in the tv-bay digital magazine
When a lens is more than just a lens
KitPlus Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.
Tags: iss128 | zeiss | lenses | lens | prime | cp.3 | cgi | vfx | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Reunion on Kingsman ensures efficient workflow for sequel
KitPlus Both on and off camera, there are some collaborations that are built to last. Armed with the success of their work on the first film adaptation of the Kingsman comic book (Kingsman: The Secret Service), director Matthew Vaughan reunited with cinematographer George Richmond, DIT Joshua Callis-Smith and colorist Rob Pizzey, to deliver Kingsman: The Golden Circle, the upcoming second installment in the spy comedy series.
Tags: iss128 | kingsman | blackmagic | goldcrest | davinci | arri | dit | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Leveraging licensed broadcast spectrum assets
John Payne There are several different approaches to transmitting live and file-based content from the field to the studio. Traditional microwave Electronic News Gathering (ENG) provides high bandwidth, high-quality transmission with low latency. Using the secure, dedicated BAS spectrum keeps control in a broadcasters hands. The past few years have seen a shift in video technology toward acceptance, and adoption of IP-based links into ENG workflows.
Tags: iss128 | eng | bas | imt | vislink | imt-vislink | John Payne
Submitted by John Payne Read this article in the tv-bay digital magazine
Looking back at IBC 2017
Duncan Payne IBC feels like a bit of a dim and damp memory now, but a few over-riding memories do remain however, not least of which was the Arri party to celebrate its 100th year. It was like an old-school manufacturers IBC/NAB party, back when manufacturers had marketing budgets, and lots of sales people. It got IBC off to a great start; thanks Arri.
Tags: iss128 | ibc | arri | red | panasonic | adamantean | sony | eva | nokia | ozo | Duncan Payne
Submitted by Duncan Payne Read this article in the tv-bay digital magazine
Growing a news agency from the inside out
Lorna Garrett Growing a new media outlet in todays highly competitive market requires taking a strong look at the new ways media is being consumed. Many of the most successful recent startups are community focused, often finding a niche market that wants to be engaged in a way they perceive themselves. Al-Araby TV is a London-based news and current affairs satellite channel that has set out to do just that for Arab citizens.
Tags: iss128 | gpl | garland | al-araby | teracue | x-player | amino | aminet | icue | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Supporting broadcast quality control
Alan Wheable With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.
Tags: iss128 | omnitek | wcg | hdr | test and measurement | smpte 2110 | smpte 2022-6 | Alan Wheable
Submitted by Alan Wheable Read this article in the tv-bay digital magazine
The importance of storage
Jonathan Smith In recent years, viewing habits have shifted dramatically; online video is becoming the preferred option for the younger generation. But its not just millennials who are cutting the cord with broadcasters and traditional platforms increasing numbers of people from all age groups are abandoning cable and instead enjoying TV online. In response to this growing trend, platforms such as Netflix and BBC iPlayer are rushing to invest in fresh digital content, in a bid to satisfy their ever-increasing audiences.
Tags: iss127 | limelight networks | cdn | pops | Jonathan Smith
Submitted by Jonathan Smith Read this article in the tv-bay digital magazine
A 360 degree view of fashion
Michael Parsons Im often asked, what do you do when the students arent around?, and the simple answer is, as it would be from any university technical support member of staff, I get involved in passion projects and these help me to stay up-to-date with the kit and keep my hand-in with video filmmaking.
Tags: iss127 | 360 | vr | portsmouth | university | nokia | ozo | pxw-fs7 | avid media composer | Michael Parsons
Submitted by Michael Parsons Read this article in the tv-bay digital magazine
Plan to be smart at IBC
Peter Savage 2 While chatting with a good friend last week, he told me he was full of foreboding about the coming IBC. It needs no introduction: this conference/exhibition is the largest gathering of broadcast professionals in Europe, and the second largest in the world, and everyone in our world knows about it. Ill give you some statistics later but, for now, lets look at why my friend was dreading it.
Tags: iss127 | azule | finance | ibc | planning | Peter Savage 2
Submitted by Peter Savage 2 Read this article in the tv-bay digital magazine
The party is not over until the video is online
Paul Scurrell When we were introduced to the team behind Sensation dance events in Amsterdam they had one big question for Timecode Systems: could our SyncBac VR wireless sync and control solution theoretically make it possible for a high quality, professional 360-degree video of a live dance music event to be edited in the time it takes the DJ to fly to his or her next gig? Intrigued by what our solution could help them achieve, in July they invited us to film at one of their iconic dance music events. Billed as The Final it was a sell-out farewell party to mark the last Sensation event in Amsterdam.
Tags: iss127 | syncbac | vr | 360-degree | pro7 | 360rize | gopro | dj | timecode systems | Paul Scurrell
Submitted by Paul Scurrell Read this article in the tv-bay digital magazine
TV Futures - Running around for clients
Joseph Long My second year at the University of Portsmouth seemingly began in a familiar fashion to the previous year. We sat in a large lecture theatre and listened intently to our course leader, who gave an outline as to what students on the BSc Television and Broadcasting course should be expect experience-wise from the up-and-coming year....
Tags: iss127 | ccitv | tvfutres | training | portsmouth | university | Joseph Long
Submitted by Joseph Long Read this article in the tv-bay digital magazine
Boradcast playout on-site and in the cloud
Don Ash Broadcasters come in many shapes and sizes, each with their own unique set of ambitions and their own preferred route to success. Some are happy to innovate, particularly if it increases staff efficiency or reduces operating costs. Others prefer to let their competitors do the innovating and then follow whatever path appears to work best. Thus the industry has advanced from dedicated hardware to more flexible and cost-efficient software running on 'enterprise-platform' comput-ers, and more recently to virtual devices.
Tags: iss127 | playbox | playout | cloud | edgebox | airbox | neo | cloudair | Don Ash
Submitted by Don Ash Read this article in the tv-bay digital magazine
Back to Basics with IP Video Production
Michael Waidson Its difficult to attend an industry tradeshow or read a publication without seeing discussions about the technological changes that will impact the broadcast market in upcoming years. These changes include 4K/UHDTV, High Dynamic Range and High Frame Rate video but the transition to an all IP video workflow is regarded as a disruptive technology change that will demand new skill sets and infrastructure.
Tags: iss127 | tek | tektronix | ip | test | Michael Waidson
Submitted by Michael Waidson Read this article in the tv-bay digital magazine
Power linking just got better
Yasushi Wada Sometimes batteries can be interesting and this year with IDX is one of those years with not only improvements in the V-Lock range there are significant changes within the 7.2volt area. Firstly and for the very first time in Europe the updated Power Link battery system the IPL range will be shown on the IDX stand at IBC
Tags: iss127 | idx | battery | power | v-lock | vl-2000s | ipl-150 | ipl-95 | Yasushi Wada
Submitted by Yasushi Wada Read this article in the tv-bay digital magazine
The ITTP - A Review
Graham Reed Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.
Tags: iss127 | ittp | training | bbc | bskyb | soho editors | skills | cirrolite | bksts | skillset | Graham Reed
Submitted by Graham Reed Read this article in the tv-bay digital magazine
Supporting creativity and driving better workflows
Rod Aaron Gammons For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.
Tags: iss127 | rotolight | led lighting | aeos | Rod Aaron Gammons
Submitted by Rod Aaron Gammons Read this article in the tv-bay digital magazine
Immersive Audio
Jon Schorah - new In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?
Tags: iss127 | immersive audio | dolby atmos | dts-s | auro-3d | oculus rift | nugen | Jon Schorah - new
Submitted by Jon Schorah - new Read this article in the tv-bay digital magazine
A bluffers guide to image stabilisation
Mike Colyer One of the greatest challenges I face when designing a Special Camera system is how to minimise such vibrations, be they the very passive such as vibrations from a human wearing a camera system (10 20Hz), or more pronounced (try strapping a camera to a race car!).
Tags: iss127 | stabilisation | eis | ois | Mike Colyer
Submitted by Mike Colyer Read this article in the tv-bay digital magazine