Taking the pain out of collaborative editing


TV-Bay Magazine
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Broadcast and post-production companies face the daily challenge of delivering more for less – both in terms of time and money. Whilst the industry has been quick to embrace the efficiencies of file-based workflows and enhancements in the creative editing process, the reality - for companies of all sizes - is that the effective and secure management of media data remains complex and expensive. For those editing in groups - with media entering the studio from many different sources, ingested to different editing platforms and stored on various storage islands - data management in a collaborative environment is even more challenging.

In the past, systems to manage media data have been proprietary and therefore expensive. Hence only larger organisations have been able to afford the level of CAPEX investment required and the number of editing seats available to deliver a return on that investment. Where the cost of proprietary systems has been prohibitive, the management, archive and back-up of data has become a manual and very time-consuming process. Typically, data is ingested on to islands of storage around an organization – to an editor’s workstation, a specific ingest machine, a central I.T. Disk system or, very often, just a USB/Fire wire disk. The answer for these companies has been to purchase a server/disk system in a traditional IT format.
Shared projects? Shared pain.
Each scenario has its failings. Most proprietary systems offer central organised storage with guaranteed performance but they do not scale affordably and expose organisations to high upgrade and maintenance costs. They also charge premium rates for the storage necessary to support multiple shared projects. Furthermore, proprietary systems are often locked-down, forcing a particular workflow. As the demand for multi-platform support increases, this lock-down limits ingest options and may require the use of expensive editing suites, with editing islands of Apple Final Cut Pro, Avid or Adobe supported by pools of storage to service them.

The alternative of the traditional I.T. Server with storage may offer a good price point, but only partially addresses the problem. Data can be stored in one location but with a lack of organisation or archive procedures, data ultimately becomes hard to find. In addition, server systems can be difficult to configure, requiring specialist support, and as the infrastructure is often used for a multitude of tasks, the high performance required by internal media clients can not be guaranteed.

In collaborative editing environments, whether using large proprietary or small IT-server systems, there are further layers of complexity and cost. It remains difficult to manage how limited storage is utilized and guarantee performance. Shared projects are often exposed to human error and system constraints that hinder the creative benefits of collaboration. It is common for media to disappear, be deleted in error or be shown offline (because, for example, somebody has borrowed that USB drive for another project). The result is frustration and, of course, loss of valuable production time.

Agile and secure collaboration.


To address these challenges, ERA has launched ERA MediaEdit, a cost-effective platform for secure collaborative editing, to help organisations of all sizes manage shared projects and operational capacity - more efficiently and cost-effectively.

Powered by CandIT Media WARP storage and with FilmPartners’ MXFServer media management at its core, ERA MediaEdit is designed to enable editing workgroups to share and manage virtualised project files securely, with guaranteed high performance and minimal infrastructure costs. The entry-level configuration supports up to eight clients of Avid, Apple Final Cut Pro and Adobe Premiere, expands in easy steps, with multi-format ingest from any device, including sixteen simultaneous streams of DNxHD and integration with EVS. It has been designed to run over Gigabit Ethernet to keep infrastructure costs low and its open architecture provides a simple yet cost-effective scale-up-and-out path should editing and business requirements grow.

ERA MediaEdit also enables the effective secure management of data and user rights for shared projects, with bin-locking functionality to prevent files or sequences being accidentally overwritten or deleted. It also optimises overall operational performance by allowing both the virtualisation of growing files - Edit Whilst Capture - and the direct ingest of media files from any source into projects without starting up the NLE - freeing up edit suite capacity and making operations more efficient and agile.
ERA MediaEdit is a turnkey solution that enables media companies, of all sizes, to handle more jobs, more effectively, with more speed and with less error – freeing up valuable creative resources to do what they do best, and optimizing the benefits of collaboration to secure real strategic advantage in today’s competitive market.
www.eraukltd.com

Tags: iss063 | media edit | era | Avid | Apple Final Cut Pro | Adobe Premiere | MXFServer | storage | N/A
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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
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
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
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
Understanding the process of video production
Joseph Adamson In this article I will focus on understanding the process of video production. The use of miniaturised video equipment and understanding the capability of the kit chosen for the job will be mentioned. The video production process is a road map, which not only helps the producer to minimise problems during production and achieve professional results, but also saves time.This process can be tricky to understand and many videographers are self taught, including myself.
Tags: iss126 | video production | wasd | ail | africans in london | Joseph Adamson
Submitted by Joseph Adamson Read this article in the tv-bay digital magazine
Live sports and event production
Brian Eldredge There is an overwhelming amount of content being recorded by sports broadcasters and digital services teams. A broadcaster might capture hundreds of hours of content over the course of, say, a golf tournament, yet only a fraction of that content makes it to air. But what about the rest of it, such as interviews, scenic shots, promos, and behind-the-scenes footage? Too often, priceless moments that don't make it into the broadcast get left on the cutting room floor because they're either not preserved or the right people can't access them, or both.
Tags: iss126 | wazee | dam | cloud | Brian Eldredge
Submitted by Brian Eldredge Read this article in the tv-bay digital magazine
Implementing an IP workflow
John Smith -new The eventual move to incorporate IP into your infrastructures is an inevitability. However, with justified concerns about interoperability and uncertainty about which vendors are best placed to help organisations achieve their IP media networking and content delivery goals, is it any wonder there is hesitation about moving forward? Broadcasters very wisely, don't want the pain without the gain!
Tags: iss126 | medialinks | ip | mdp3020 | gateway | John Smith -new
Submitted by John Smith -new Read this article in the tv-bay digital magazine
Integrated and automating marketing campaign production
James Gilbert ITV, as an integrated producer broadcaster, creates, owns and distributes high-quality content on multiple platforms. It operates the largest commercial family of channels in the UK and delivers its content through traditional television broadcasting as well as on demand via the ITV Hub. ITV has the largest share of the UK television advertising market and its family of channels attracted a total share of viewing of 21.4% in 2016, the largest audience of any UK commercial broadcaster. ITV's main channel is the largest commercial channel in the UK, delivering 99% of all commercial audiences over five million.
Tags: iss126 | pixel power | itv | marketing campaign | James Gilbert
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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
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
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
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
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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