Transforming Post Production With Content Supply Chain Management


These are challenging times for post-production companies and operations. Even the most sophisticated post houses are scrambling to evolve their content chains in the face of game-changing trends: the move from tape- to file-based workflows, the growth of new distribution outlets and windows, and the drive towards same-day-and-date release of major motion pictures – a critical strategy for capturing maximum revenue and increasing ROI. Indeed, traditionally in-house post functions such as editing, dubbing, and special effects have been transformed by today’s digital workflows, enabling them to be outsourced to freelancers and smaller specialty groups.
This decentralization brings the promise of lowered costs and greater flexibility, but it also requires significant coordination and collaboration in order to ensure that interdependencies adhere to the schedule. Plus, such a scheme is absolutely dependent on a reliable system for the business-to-business transfer of digital assets – enabling post companies to securely and seamlessly exchange content with business partners outside the enterprise. This exchange is complicated by the increased size of the files required to traverse the network, with “super HD” formats such as 1080p 50/60, and even 3D becoming more prevalent. Working in these new formats often requires moving files that are two to 10 times the size of SD, putting additional strain on the content supply chain.
Content supply chain management (CSCM) solutions such as Signiant are designed to address these challenges for post operations, by interconnecting the supply chain and aggregating all content processing and distribution tasks. Via accelerated content transport, CSCM enables the rapid, reliable, and efficient movement of very large files, even up to 1 TB. An end-to-end security model based on B2B content peering enables content to flow across company boundaries seamlessly and without interruptions, while maintaining enterprise security policies. In addition, the ideal CSCM solution provides a centrally managed suite of resources for tracking content exchanges and re-prioritizing bandwidth, to ensure that files are delivered with first-class efficiency.
Through content process automation, CSCM eliminates inefficient manual processes along with the delays and errors that are sometimes inevitable with human intervention. In fact, organizations can expect a 50 percent productivity gain through automation of content processes, with solid cost savings from 30 percent to 1,000 percent over the old manual, tape-based methods for exchanging content assets.
CSCM, therefore, is much more than a scheme for moving large files from one point to another. When implemented correctly, CSCM can lead the way for post organizations to cost effectively adopt file based workflows, gain control of their assets, scale their digital business, and capture new distribution window opportunities that will transform the business.
###
Tony Lapolito is vice president, product management and marketing for Signiant, a pioneering provider of content supply chain management software that empowers global organizations to automate, accelerate, and simplify the movement of content.

Tags: iss052 | signiant | post production | cscm | content supply chain management | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Signiant at IBC2011

    Signiant at IBC2011

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Forscene at IBC 2014

    Forscene at IBC 2014

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Forbidden Technologies FORscene at BVE 2014

    Forbidden Technologies FORscene at BVE 2014

  • Forbidden Technologies FORscene App at BVE 2014

    Forbidden Technologies FORscene App at BVE 2014

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • Autodesk at NAB 2012

    Autodesk at NAB 2012

  • SGO at IBC2011

    SGO at IBC2011


Articles
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
The Wireless Way to 4k
JP Delport DTC’s AEON group of products have been specifically designed for the 4K market. We encode with the more efficient HEVC algorithm, which means we are taking a 12G signal and compressing it to a bitrate that can be managed over an RF link. So what makes this a leading idea in the 4K revolution?
Tags: iss134 | wireless | 4k | transmission | JP Delport
Contributing Author JP Delport Click to read or download PDF