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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Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
The challenges of media workflow automation
Dave Clark The media workflow challenge has never been more complex, and it's growing. In response exploding consumer demand for high-quality, engaging programming, media operations are under the gun to create content and deliver it to an ever-growing range of platforms and devices. Managing video assets - that is finding them, accessing them, and using them efficiently and effectively - is one of the biggest barriers to success in today's environment.
Tags: iss126 | automation | workflow | cloud | on-premise | hybrid | mam | square box | Dave Clark
Submitted by Dave Clark Read this article in the tv-bay digital magazine
360 degree video storage requirements
Dave Frederick Swim with bears, run with the bulls, get a pads-eye view of a rocket launch: 360 degree video production, also known as cinematic VR, makes these and many other bucket list-worthy events more accessible than ever. The format has evolved into a powerful storytelling tool, and one that changes not only the way in which visual experiences are shaped, but also the way in which media consumers perceive and interact with video content.
Tags: iss126 | 360 degree | vr | storage | vfx | ssd | san | nas | quantum | Dave Frederick
Submitted by Dave Frederick Read this article in the tv-bay digital magazine
Lighting - the stuff you do not see
Tama Berkeljon Lighting is the stuff you don't see that makes a difference in what you do see. How the audience feels about a character and whether the scene is scary, tense or upbeat are communicated by the quality and placement of light. Lighting can take the drama to a whole new level - think about film noir with all those shadows on the wall.
Tags: iss126 | outsight | ghost in the shell | led lighting | Tama Berkeljon
Submitted by Tama Berkeljon Read this article in the tv-bay digital magazine
Media Production Show and other news
Duncan Payne So, the 2nd Media Production Show has been and gone. Hands up who went to Islington by mistake? I know at least two people who did. Their secret is safe with me! For me, the sign of a great trade show is when I come away really enthused about an innovative use of existing technology or a brand new product. When I find something that combines both these things, then I'm a very happy man.
Tags: iss126 | adamantean | finance | leasing | mps | ptz | sam | Duncan Payne
Submitted by Duncan Payne Read this article in the tv-bay digital magazine
State of the Nation - part 1
Dick Hobbs - new Imagine you are the director of the Champions League Final, knowing that 200 million people will be watching your every decision. Or you're directing the Eurovision Song Contest. Or even, to be honest, the Tunbridge Wells local news opt out. And at live minus 30 seconds, all the screens in the monitor wall suddenly go black then show a demand, in broken English, for 300 Bitcoin.
Tags: iss126 | iabm | british airways | ransom | bitcoin | cybersecurity | cots | Dick Hobbs - new
Submitted by Dick Hobbs - new Read this article in the tv-bay digital magazine
Mobile internet connectivity in the field
Bill Nardi Mobile Internet connectivity is critical to the success of remote news crews. Whether they're doing a reporting assignment for news, sports, or live events, they need a strong and reliable Internet connection. To have an edge over their competition and get content to air faster, crews need to be able to work just as if they were in the studio, but from the field.
Tags: iss126 | dejero | mi-fi | gateway | wi-fi | cellular | Bill Nardi
Submitted by Bill Nardi Read this article in the tv-bay digital magazine
Audience engagement with advertising in an OTT world
Hank Frecon Adapting to how we advertise in an OTT world starts by reaching audiences on every screen with tailored content. Most consumers viewing habits include multi-tasking and juggling different activities at the same time, particularly the younger viewing audiences who tend to watch in a more fragmented, on-demand manner. The task of monetizing content in a way that suits this method of viewing pushes monetization strategies to adopt new technologies, so first let's look at the opportunity.
Tags: iss126 | ott | advertise | acr | source digital | Hank Frecon
Submitted by Hank Frecon Read this article in the tv-bay digital magazine
Ad servers and switching solutions
Peter Blanchford Hardware-based ad servers and switching solutions have been around for a long time and, broadly speaking, do the job just fine.
Tags: iss126 | starfish technologies | ad server | ts splicer | ts switch | gop | Peter Blanchford
Submitted by Peter Blanchford Read this article in the tv-bay digital magazine
The 7 Steps to Saving Film
KitPlus We live in a world where - thanks to everything from smartphones to cheaper professional gear - more and more footage is being shot today than ever before. It's a little known fact, however, that as more movies are made, archived physical film works all over the world are in danger of being lost to the damage of time. The Library of Congress alone has documented that only 20% of U.S. feature films from the 1910 and 1920s survive in complete form, and according to European Parliamentary Research, as of 2014, 21% of European film works were held in archives, yet only 1.5% was digitized.
Tags: iss126 | bmd | film scanner | cintel | blackmagic | goldcrest | davinci | grade | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Monetizing OTT
Oliver Botti Competition in the TV arena is hotting-up for traditional broadcasters with even ESPN, a strong-hold of sports TV, seeing a reduction in subscriptions with the number of American homes paying to get the service declining by more than 12m since 2011. With Mintel reporting that the subscription video streaming market in the UK is due to exceed revenues of GBP 1 billion (EURO 1.37 billion) by 2019, and account for 38% of the total UK video market, traditional broadcasters clearly cannot afford to turn a blind eye.
Tags: iss126 | ott | moentizing | fincons group | Oliver Botti
Submitted by Oliver Botti Read this article in the tv-bay digital magazine
Advances in LED lighting innovation with Rotolight AEOS
Rod Aaron Gammons There's no doubt that lighting plays a critical role in videography, filmmaking and photography. It's the area of content capture that brings added creativity to shoots, whether that's filming a wedding, producing a commercial or making a movie. Much like cameras have evolved over the past few years, lighting has also evolved; from the traditional tungsten, through to the use of LEDs. Of course LEDs have been revolutionised too, now delivering powerful, cost and energy efficient solutions to creatives.
Tags: iss126 | location light | led lighting | AEOS | rotolight | anova | neo | Rod Aaron Gammons
Submitted by Rod Aaron Gammons Read this article in the tv-bay digital magazine
TV Futures
Jane Lawrence When I was younger my dad used to encourage me to be a Jack of all trades and a master of none. One of those clich© things parents hand down to their children. However, as I have grown and gone through different stages of education I have found this little piece of wisdom has followed me. Don't get me wrong, being amazing at one thing is a great skill to have, but for me having a good understanding of everything is also vital.
Tags: iss126 | tvfutures | ccitv | portsmouth | preditors | Jane Lawrence
Submitted by Jane Lawrence Read this article in the tv-bay digital magazine
IP Based Remote Production
Ed Calverley Over the last few years Suitcase TV has been getting involved in remote production at the software layer, and I want to talk about some of the ways we have been getting involved in remote production, including a specific trial that we did last year with BBC Sport for the Euro 2016 tournament in Paris.
Tags: iss126 | remote production | IP | jt-nm | smpte 2110 | suitcase | Ed Calverley
Submitted by Ed Calverley Read this article in the tv-bay digital magazine
Canon CN-E 18-80mm T4.4 Review
Ben Sherriff The Canon Cine range of lenses have been around for quite a few years now. The CN-E Cinema Prime lenses became an early alternative to using PL adaptors or the Zeiss Compact Prime lenses. Other than that the choice was rehoused stills lenses or maybe if you were lucky a set of Zeiss super speeds. The cine lens set became a cost effective offering for sharp prime lenses with clear and accurate markings for proper functionality.
Tags: iss126 | canon | review | cn-e | 18-88mm | t4.4 | Ben Sherriff
Submitted by Ben Sherriff Read this article in the tv-bay digital magazine
The Dressing Room - shooting steamy scenes
Josh Portwine W's latest factual entertainment series relies completely on the ability of fixed rig filming setups to make cast members forget their inhibitions. Described as a fly-on-the-wall documentary, "The Dressing Room" gives TV audiences unprecedented access to team-sport dynamics off the field of play by inviting them into the hidden world of dressing rooms at venues across the country.
Tags: iss126 | aw-eu70 | aw-rp120 | stv | motion content group | shooting partners | Josh Portwine
Submitted by Josh Portwine Read this article in the tv-bay digital magazine
Facebook Workplace - why it might just work
Jake Ward At the Facebook F8 Developer Conference last April, Facebook's Workplace, a collaborative platform for organisations, announced enhanced live video functionality. Being able to stream live into Workplace will fundamentally change the way companies communicate, from broadcasting weekly meetings and webinars to live streaming Q&As. The possibilities really are endless.
Tags: iss126 | facebook | workplace | groovy gecko | Jake Ward
Submitted by Jake Ward Read this article in the tv-bay digital magazine
Infrastructure boost with single node storage solutions
Lee Griffin Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller.
Tags: iss126 | storage | san | nas | single-node | efs | xstream | efs200 | efs300 | editshare | Lee Griffin
Submitted by Lee Griffin Read this article in the tv-bay digital magazine
Misinterpreting complexity for sophistication
Dick Hobbs - new Professor Niklaus Wirth was one of the pioneers of computing as we know it. He was responsible for the Pascal language, a project he completed in 1970. Wirth became professor of computing studies at ETH-Zrich, and retired in 1999, although he remains active to this day.
Tags: iss125 | cutting room | dick hobbs | niklaus wirth | pscal | oberon | brad gilmer | amwa | Dick Hobbs - new
Submitted by Dick Hobbs - new Read this article in the tv-bay digital magazine