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CONNECTED integrate with all three allows editors to work collaboratively and across NLE platforms. This allows facilities to deploy workfl ows strategically across departments. What about logging? It’s tedious and inaccurate. What options are available? Automation... with Robert Lisman What is broadcast automation and why is it important to me? Broadcasters and media operations face the complex task of managing all kinds of hardware and software, such as switchers, video servers, graphics systems, routers, newsroom systems, craft editors (NLEs), VTRs, tape formats and fi le codecs. Broadcast automation manages these complexities resulting in collaboration, creativity, effi ciency and immediacy – four keys to innovation. Broadcast automation enables users to control important steps of story creation and distribution. Having an open- architecture, client-server, script-based system is essential when it comes to broadcast automation software, especially when it comes to Media Asset Management. Broadcasters are creating and distributing an ever-increasing array of content to an every-increasing spectrum of platforms. One two-minute segment 68 | TV-BAY MAGAZINE: ISSUE 87 MARCH 2014 will end up as part of an evening news broadcast – as a stand-alone piece available on the Internet – and as archived content that will be accessed in 10,000 search engine results. Primestream’s FORK lets you manage all this simply and effi ciently. I have a lot of other gear in my facility… will it all work within a given automation environment? The same characteristics that make FORK the most comprehensive solution, also make it the most fl exible. FORK can control almost everything, precisely because it is versatile enough to embrace anything — hardware from all major manufacturers, all major tape and digital formats and both Mac and PC environments. A broadcast automation platform that plays well with a vast assortment of other broadcast hardware and software is crucial to the success of an operation. For example, some facilities today are using various Non- Linear Editing solutions such as Adobe Premiere Pro, Avid Media Composer and Apple Final Cut Pro instead of just one editing platform. The ability to Logging live or recorded content with metadata is one of the most painful, yet vital, of all broadcast tasks. If you don’t have suffi cient metadata attached to your media assets, then fi nding assets become super tedious – resulting in spending more time fi nding the asset than doing something with it. Primestream’s FORK Logger software was designed to address metadata tagging, marker creation and subclips with speed and accuracy. FORK Logger uses pre-built templates that are customized to the programming that you are covering, from sports to reality TV. So during a football match as an example, rather than typing in “#42, corner kick, #7, header, goal” – tapping 5 buttons via touchscreen display or regular mouse, would accomplish the same thing and provide the rich metadata that is needed to later have the ability to monetise the assets. This presents an opportunity for content owners to digitize content for many creative uses. A brand like Nike can digitize its history, then later launch it’s own online channel with live and/or OnDemand content that can be search and organized by category. What if I want to access my MAM remotely? If you can access a computer, you can access Primestream’s FORK MAM, and if you’re in FORK, you can control your entire operation. You can ingest, archive, edit, and play out media — all from within the FORK environment. The ability to get at your media from anywhere is a huge advantage and can dramatically speed up production and edit times both for content creation and for collaborative