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NEWS MANIPULATE & EDIT ANALYSIS Let’s be totally honest. Video editing hasn’t changed a great deal since the advent of non-linear in the 1980s. It is certainly faster and more versatile. In many ways it is more efﬁcient too. But the fundamentals of timeline editing are the same. Edits are done inside the editing software (obviously). A user chains together video and audio clips to create the story and then layers graphics and other video and audio on top, eventually creating a single ﬁle for distribution. In the future, it is possible that this might not be the most appropriate way to do it. If broadcasters want to provide a more personalised viewing experience, for example, it might be that the playback device, rather than the editing software, does the combining. As editor Alex Gollner (@Alex4D) writes in his ‘New video distribution models mean new video creation tools’ blog, “most playback devices have the power to do this combination at the playback point. The limits are bandwidth and deﬁning a standard way to send all graphic, video and audio elements from the server. New media services will deliver customised viewing. Most playback devices do this already: programmes can already be modiﬁed at the point of playback to deal with different spoken languages through subtitles and alternate soundtracks. Soon video will change depending on size of screen, audio needs, aspect ratio and feed integration.” If this prediction turns out to be correct, where does that leave the current method of editing – and the current editing software applications? The industry is either going to need new tools or the current tools are going to need to adapt. Either way there is a big opportunity for someone. It will be interesting to see who grabs it. GRAPHICS AND AUTOMATION Pixel Power will focus on practical applications for its graphics and automation technology at NAB New York. It will also highlight how major broadcasters are now looking to its Pixel Power StreamMaster, the virtualized playout platform. This software-deﬁned infrastructure, the company says, is applicable to every playout application from premium services to pop-up channels and trials. “The move to a software-deﬁned architecture gives every broadcaster the opportunity to take a fresh look at how they do things and to see where operational efﬁciencies can be achieved,” said Mike OConnell, executive vice president, Pixel Power. “Where our rivals are taking the standard approach to playout and moving it to software, we are taking market-leading software applications and bringing them together to make a better way of working.” pixelpower.com CLOUD EDITING Forbidden Technologies has launched a review app for Forscene and is touting an updated user interface for the Forscene Virtual Ingest Server running on Mac. The Forscene Review App is for reviewing and approving edits on-the-go. Editors working in Forscene can drag their ﬁnished sequences to the review button and drop them there to make their edit available for review. The app alerts reviewers and makes the sequence available for them to play, scrub through, comment on and approve or reject from their iOS device. Forscene’s Virtual Ingest Server provides an alternative to traditional hardware-based ingest workﬂows by running Forscene’s ingest software on a virtual machine on a user’s laptop or computer. According to Forbidden, the new UI and automated setup for Mac users will “simplify and speed-up the setup process making it easier for data wranglers on location to automatically create and upload proxies to the Forscene cloud while backing up shoot rushes.” forscene.com 12 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 119 NOVEMBER 2016