Category: POST

Asset ManagementDATAPOSTShared StorageUncategorized

5 reasons why you need Asset Management in Post


SOURCE: RedShark News

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:


Film Factory Installs Cintel Film Scanner



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.

Full Story:

Online FinishingPOSTVFX

How Nice Shoes made surreal happen in Pink’s “Just Like Fire”

“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.

Nice Shoes Creative Studio on Pink’s “Just Like Fire” from Autodesk Media and Entertainment on Vimeo.

“It’s about the shortest amount of time I can image having to achieve such a thing in. It was kind of insane, actually.”

Read more:

Color GradingPOSTShared Storage

Singapore TV Dramas Make the Grade — Media Asylum


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…

via Singapore TV Dramas Make the Grade — Media Asylum

Color GradingMonitorsPOST

Flanders Scientific’s BoxIO and Monitors Receive Prestigious Cinec Award

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