TV-BAY Magazine

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Cloud-based video management and collaboration platforms such as Mediasilo are allowing members of the production team to access footage from anywhere and use this as the basis for their work. For Manchester-based drama indie Red Production Company for example, this technology has allowed audio tracklayers to work from home. “I think that is going to change again in the next few years and enable picture editors to be able to work from home for at least some of the periods of the post-production cycle,” explains executive producer Tom Sherry. “[It could also open] new doors for us to work with international editors and attract international directors who could do some post at home.” Aframe - the omnipresent cloud platform for collecting, managing and storing video - also allows for this work anywhere-style sharing and reviewing workfl ow but also adds some editing options too. Via its ‘Edit Flow’ feature users can export their timecode-specifi c metadata out of Aframe and directly into Avid Media Composer, Apple Final Cut Pro or Adobe Premiere. Once there, the metadata relinks with the original media – retaining all user changes automatically. Remote editing is also possible using Adobe Anywhere and Avid’s Interplay Sphere. Requiring only a NewsCutter or Media Composer license and an Internet connection to an Interplay Production workgroup, Interplay Sphere connects multiple remote editors at the same time, allowing them to combine locally shot footage with material on the Interplay Production system. Ideal for news production, it uses proxies when faster speeds are required. Adobe Anywhere, on the other hand, relies on centralized clustered storage and allows a remote editing station to access Premiere projects over a LAN or VPN with the media streamed to the workstation or laptop using the Mercury Streaming Engine, an innovation that negates the need for proxies by adapting resolution to match the available bandwidth. Quantel’s QTube is another consideration, especially for news, enabling “content creators, administrators and managers to interact with their content wherever they are and wherever their content is located.” 40 | TV-BAY MAGAZINE: ISSUE 85 JANUARY 2014 Grading anywhere Picture editing and audio track laying are not the only disciplines that can be done remotely. Grading anywhere is also possible. Yes, it can be a standalone process with the colorist working independently. Or, if the project is being graded on Blackmagic Design’s Da Vinci Resolve, clients can watch a grade in real-time while the colour correction is happening in a completely different location. To do this, two DaVinci Resolve systems with identical material are synchronized over the web and all changes made by the colourist’s system are sent across in near-as-damn-it real-time and applied on the other. Skype can then be used to chat about the project as if both people were in the same room. Various UK facilities including The Mill, MPC and The Look offer this and other similar types of service with the latter also teaming up with Sumners in Salford to offer grading at MediaCityUK. With the client doing the prep and the footage upload, The Look’s managing director and senior colourist Thomas Urbye points to the potential cost and quality savings that are possible working this way. “A lot of production companies either use their in-house editors or a freelance colourist on a day rate,” he says. “These are often not dedicated colourists and the results are not as good as you get from one of the colourists here at The Look. Freelancers are usually booked on a day rate, and this can be complicated if your client makes changes to the edit as the grade can be delayed and freelancers can bill for these last minute re- bookings – we can work by the hour.” FORscene So... At the slightly less expensive end of the scale, Forbidden Technologies’ long-established FORscene offers the ability to log, edit, review and publish content via any Internet connection. Remote, fl exible working doesn’t suit everyone or every production. But as post-production continues to evolve - and the industry become increasingly mobile and global - it is one of the options that will almost certainly become commonplace.