How can you better manage all the data generated in a typical production? Join speakers from the International Colorist Academy, Beach House Pictures and Editshare in this special event
EditShare’s XStream EFS SSD storage and Flow asset management tool set are used at the heart of many 4K/UHD post production workflows. In this video freelance colorist Warren Eagles shows the key benefits of Flow’s toolset when working with Adobe Premiere Pro CC and DaVinci Resolve.
We’re all living inside a giant media asset management system. It’s called the universe, and some remote parts of it run intelligent software called “Humans”. We somehow manage to keep track of a seemingly infinite mountain of assets.
But we’re not very good at it. We forget things, and we definitely can’t keep track of every single blade of grass that drifts into our field of view. We’re imperfect. We lose stuff.
In the past, when our daily media workflow revolved around film reels and videotape, it wasn’t so bad. With film, you can see the content – you only had to look at it. And with videotape, at least you could stick a label on it before stacking it on a shelf.
Digital video is now a done deal. Tape is only used for archive and restoring vintage material. Today, production is done with files, and the problem with files is that they all look the same. In fact, they don’t look like anything at all. You can’t really “see” them: all you can see is the name of the file on a computer screen, and if your files have names like “ 000000” to “8738752”, with no additional data about the clip, then it is completely impossible to work with them unless you go through them one by one.
And even if the files have good, consistent names, what about multiple versions, each with slightly different content? What about different formats, aspect ratios, colour grades? The list is almost endless. Working without good asset management is a nightmare and a liability.
There’s a long list of software available to help. Not all of it does the same thing. It’s useful to break it down into three main categories.
- Media Asset Management (MAM) – traditionally focused on managing the lifecycle of finished media assets
- Digital Asset Management (DAM) – more of an emphasis on image and document assets so tends to be used more by general media agencies than post production facilities
- Production Asset Management (PAM) – this is for content creation and packaging: post production, in other words.
What are the prime reasons for adopting PAM in post production?
The biggest of all of these is organisation. From ingest to delivery, it’s essential to manage assets securely on behalf of your clients during the creative process. Every single asset is there for a reason, and it has a value. Organised assets are worth indescribably more than disorganised ones.
Automate repetitive or complex tasks. With the right software, you’ll be able to set up automated workflows and routines to do the most complicated jobs: jobs that cause projects to overrun, and which tie up valuable (expensive!) employees. Transcoding, QC workflows and content delivery can all be automated.
With multiple employees working on the same project, it’s essential to manage their collaborative efforts. If you get this right, it will turbo-charge your business. If you get it wrong, it’s at best inefficient, and at worst, a recipe for disaster.
Frees up resources
Stand-alone NLEs contain asset management, but without a centralised system, each one is an island, or “silo”. This leads to fragmented and ineffective workflows. Worse than this, these expensive resources are often tied up with browsing, logging, trimming and even previewing. None of these activities now need a fully-fledged NLE: virtually any modern computer – laptop or desktop – can be used for these tasks with the right PAM software, freeing up the NLEs for intensive craft work.
Create new business opportunities
The more control and visibility you have over your assets, the more you can share, package and distribute them, either business to business, or business to end user. Information is profit, and a good PAM creates and adds information at all stages of the process.
A well designed Production Asset Management (PAM) system improves your workflow and business efficiency. It makes complex tasks simple and routine. It maximises profitability while allowing your employees to focus on doing the best possible job. Your creative budgets will go further.
Editshare Flow is a scalable Production Asset Management system that simplifies and turbo-charges the creative process. Several editors can work on the same timeline – with all the major NLEs. Spread across all of Editshare’s products, it is a unified environment where creatives can work together while technicians, administrators and managers optimise the use of resources.
Editshare Flow is unique because it is designed from the ground-up to work with closely with Editshare’s shared storage, and yet is available either through a workstation or via the web.
And now with Flow Story, a fully-fledged remote NLE that’s built into the fabric of the Editshare ecosystem, the creative process can start anywhere, and any time, whether you’re in the office or working remotely via a broadband connection.
For more information on EditShare’s Flow asset management solution and how it integrates with their XStream storage range please go to their website: www.editshare.com/products/flow
The International Colorist Academy and Media ASYLUM are organising the very first Colorist Mixer Night in Asia, on 23 November 2016 from 6.30pm to 9.30pm at BluJaz Cafe.
Wolfcrow does a fantastic job stepping through the post production process for Cinema, from managing and organising files in storage, all the way through to deliverables and archiving.
More details of each step of the process can be found here:
Blackmagic Design announced that Paris post production company Film Factory, which has been working in professional film development and processing for more than 20 years, is now using the Blackmagic Design Cintel Film Scanner for both its dailies and final film scanning workflows.
“It will be a race against time.” – The White Queen
Software used : Autodesk Maya , Autodesk Flame , Arnold Renderer
For Just Like Fire, signature song for Disney’s new film, Alice Through The Looking Glass, director Dave Meyers of Zanmi Films and Strange Invention’s VFX Supe, Todd Sarsfield, teamed with Nice Shoes Creative Studio to immerse pop star, Pink, into the zany ‘Underworld’ as Alice.
Realizing a dreamlike sequence involving 18 versions of Pink atop a life-sized chessboard, as well as lush, digital gardens filled with flowers and trees, Nice Shoes Creative Studio’s Director of CG, Steve Parish, reveals how he and his team fearlessly took on Time to make standout surrealism happen in the striking music video.
“It’s about the shortest amount of time I can image having to achieve such a thing in. It was kind of insane, actually.”
Colorist Alicia Wong shares her experience in grading TV Dramas for Singapore-based broadcaster, MediaCorp The majority of English and Mandarin television drama programs at MediaCorp are created by in-house production units. Post production is also done in-house by their Digital Arts team, which specializes in Broadcast Design, Motion Graphics, Computer Visual Effects and Compositing. 2…
The DM240 is a power efficient, and color critical production monitor with industry leading fast mode processing, a durable all metal chassis, and direct integration with today’s most powerful color management tools – making the lightweight 13 pound DM240 a production environment workhorse and a fully functional on-set color management system.
Flanders Scientific received a 2016 CinecAward for the BoxIO Dual-Channel Color Management Device and DM series Color Critical Production Monitors at Cinec 2016 in Munich this week. “BoxIO and our DM series monitors were designed specifically to help address the challenges associated with on or near set color management and we could not be more thrilled than to have the CinecAward judges recognize these products for their value in color critical on set monitoring applications” said Bram Desmet, CEO/GM of Flanders Scientific, Inc.
Learn more about BoxIO and DM series monitors at FlandersScientific.com