Across the industry, most implementation and transformation projects have traditionally been collaborative because individual groups of people from different companies and multiple disciplines work together to achieve a common aim. But it is often the case that they are working alongside each other rather than combining their intellect and jointly determining the best solution for a client, even if that means their system or technology is not core or managing some of the key functions as part of the overall solution. As systems have become diverse there is a real Venn-like overlap of functionality and it is essential that vendors now work side by side, within these common areas, to determine the most optimal solution for that workflow, operation, site or organisation.
Before the outbreak of Covid-19, transitioning to remote workflows was generally perceived as a desirable yet intimidating process for many broadcasters, and one that could be best addressed again later in the future. Those that did produce content remotely tended to focus on either lower tier sports where the audiences and expectations were smaller, or supplement traditional broadcasts of top tier or primetime events. However, the pandemic we’ve faced in 2020 has changed everything. The way live sports are produced has had to be completely rethought during the lockdown, and we’re seeing very different production models appear as we prepare to hopefully return to some semblance of normality in 2021.
To answer this question, we need first to look at where we come from. What Dalet has done in the last ten years is to provide a very distinct approach to news production by combining the Newsroom Computer System and Media Production into a single platform. The result is one system – essentially an NRCS with a Media Asset Management core – that provides end to end workflows from Ingest to Production and Playout. It is built on a story-centric approach that allows for easy content sharing and re-purposing. A unified interface gives the reporter and the producer a comprehensive set of tools to access and transform the objects managed by the system: scripts, media pieces, wires, feeds, rundowns…
As a full-service production company, Mindfile Multimedia offers creative video production, motion graphics, and church livestream services to their diverse and loyal customer base. While they do just about everything, they excel in one thing above all else: creating killer content that engages, influences, and inspires. They’ve done just that for brands like PR Newswire, Sealed Air, and Siemens, as well as institutions like the New York Department of Education, St. Edwards School, and The Sunday Mass.
With the lockdown came the abrupt halt in production, broadcast and live events. However, as a company disguise took immediate action going above and beyond to provide vital lifelines to our community, along with an upswing in our xR (extended reality) workflow being utilised on a series of projects aimed at providing an immersive viewing experience for remote audiences.
Editors and artists strive to produce creative, compelling content while working under the pressure of tight deadlines, shrinking budgets and fierce competition. And, somebody has to make sure that they have the right tools so they can focus on the work at hand rather than being bogged down by technology issues. Finding the right solutions means professionals can focus on content creation rather than fighting with archaic systems that no longer meet their needs.
Get your summer of 2020 “Sequel” fix with 5 Tiers of Storage for New Video Production Workflows: The Sequel on August 4.
Unusual times call for new ways of working. As the COVID-19 crisis deepens, it is becoming obvious that, to maintain business continuity the Media & Entertainment industry must pivot rapidly towards remote collaborative production. While companies across the industry scramble to put together new workflows, it is worth examining some of the successful businesses that have been working this way for years.
The Finish Line, one of the most successful post production companies working out of the UK, is one of them. The facility uses EditShare’s Flow and QScan tools amongst others to ensure that its staff can work collaboratively wherever they’re based in a truly distributed workflow. Its business has been built from the ground up for pop-up and remote post production with a technology-focused facility that centralizes content without all of the expensive glamour associated with high-end finishing. Investments are made into people and technology. It’s a fascinating set up and a fascinating story, as the workflows that have helped them buck the recent crisis were actually established coming out of the global financial crash of 2008.
When you think about the amount of content produced regularly, especially from businesses, it’s unlikely that any of it can work seamlessly without a strong software infrastructure. This is especially true for video, and today, expert Liz Davis, Director of the Media Workflow Group for Diversified, joined us on the podcast to share her perspective on how software enables media workflow.
Combining numerous DataMiner capabilities, this suite takes care of all aspects of automation, orchestration and service performance monitoring. It provides accelerated service design, delivery and assurance with simplified, consistent and predictable operation during the entire service life cycle.