In Broadcast - April 2013 - 78

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 18 - APRIL 2013

N E W S

InSTUDIO
Easing The Flow From Production To Post Cont.

Forbidden’s FORscene GUI timeline

78

material could be easily uploaded to
the London system when necessary.
Grass Valley claims that the on-site
system and interconnection were
launched, set-up, and tuned within
a fortnight, with Stratus operational
24/7, serving as a base for six
channels and 12 ports. Files from
Panasonic P2 cards were uploaded
to the common system array, and
baseband video from the Olympic
Broadcasting Service’s EVS system
was recorded directly into the system.
Oleg Kolesnikov, CTO, NTV-Plus,
noted: “By leveraging our current
EDIUS NLEs with a new K2 SAN
for recording and playout, all under
GV Stratus, we knew that we could
achieve the right performance and
resilience within a tight timescale
for this high-pressure, missioncritical system.”
Cinegy also supplies an
integrated ingest – edit – playout
workﬂow solution which is in use
internationally. It boasts that the
deployment of its Workﬂow TV
production platform transformed
Turkey’s Dogan TV Holding, with its
45 TV channels into the foremost
IT-based television broadcaster
in Europe. The installation was
rolled out in stages, the ﬁrst being
to launch an integrated desktop
editing solution. It has been able
to rationalise its post-production
service: all of its pre-existing 22 edit

suites were closed, to be replaced
with four new suites, all served with
media from central content servers.
Ironically, Dogan TV actually installed
its tapeless infrastructure before
making the transition to tapeless
acquisition, with laborious tape
digitisation via 30 ingest channels
being the last reminder of the
linear world.

Cinegy Media Desktop Client

Up & Away
While integrated broadcast
solutions depend on signiﬁ cant
IT infrastructure, the trend today
is towards a cloud-based postproduction workflow. Adobe’s
forthcoming hosted solution is
gaining considerable attention at
trade shows globally.
Forbidden Technologies has
had the limelight for a number of
years and is installed in a spread of
prestigious facilities. One such, Envy
Post in London, used FORscene to
log 2,000 hours of content for its
client Raw TV.

The content is shot in Alaska
and proxies are uploaded to cloud
servers to be edited in London, while
online communication tools enable
collaborative work from continent
to continent. The edit decision list
(EDL) allows online editing of the
high-resolution ﬁles. This efﬁcient
service allows producers to tap into
pools of creative talent anywhere in
the world, with no need to invest in
costly data transport.
The same basic workﬂow is used
by Endemol who carry out rough
cuts even during a shoot. Evidently
this is a great time saver for editors
but the immediate feedback afforded
to the producer and director can
in theory also help shape the ongoing production.
Will Adobe Anywhere now
popularise and democratise
cloud computing and bring it
to the editing mainstream? The
forthcoming platform will enable
Prelude, Premiere Pro, and After
Effects users to collaborate from
anywhere by accessing a centralised
media server. Like FORscene, it
promises to eradicate the boundary
between facility base and remote
editors by allowing the remote
sharing of projects. Unlike other
solutions, Adobe’s cloud editor is a
full blown system – Premiere Pro in
its complete form, not a cut down
cutting tool.
So is this the hosted solution
the ultimate workflow tool? It
certainly looks promising from one
perspective. Where the production
crew is in the vicinity of the host
server, ﬁles can be ingested and
shared quickly with users anywhere
in the world, bandwidth permitting.
However, where the shoot is off-site,
the idea of transferring gigabytes of
full-resolution media ﬁles over the
internet to the central system at HQ
is unrealistic.
However, once the data is
uploaded, early demonstrations tend
to show a very ﬂuid user experience.

Indeed Adobe claims that even 3G
data rates would be sufﬁcient to
carry out certain management tasks.
With the processing taking place
on the server, there is potential
for facilities to purchase lower
speciﬁcation editing workstations,
offering the possibility of reduced
overall capital expenditure. And, as
Michael Coleman of Adobe states,
with Adobe Anywhere, “You can
hire a team based on talent instead
of location.”

Back To Basics
The coming deluge of hosted
editing solutions and facility-wide
production and post-production
workﬂows means that plenty of
innovation is to come. Until the
world goes fully wireless, however,
there is still a need to ingest data
cards onto production networks.
This niche has also seen some
solid developments. Sonnet
Technologies’ oddly named Qio
appliances are multi-card, multiformat readers. Its three-slot SxS
version can transfer data into a
Mac Pro of HP Z workstation at
up-to 380MB/s.
For those working in the ﬁeld, its
eSATA connection enables it to link
directly with a portable SATA RAID
drive, for instant data protection.
While the cloud is grabbing
the attention, there’s still a lot
o f g ro u n d e d
innovation
to invest in.

Sonnet Qio
E3 SxS Reader

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In Broadcast - April 2013

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