Software defined workflows span the media ecosystem and the wider technology ecosystem allowing assets, systems and processes to be joined and run together. Workflows address repetitive tasks that an organisation runs regularly and can optimise pipelines by allowing content to be processed frequently and quickly.
RSI Turns to Primestream to Power Media Assets and Editing
When Swiss Italian language broadcaster RSI (Radiotelelevisione svizzera di lingua italiana) needed to overhaul its approach to media assets and editing, it found a unique challenge The public service broadcaster – based in Lugano, Ticino – operates three radio stations, two TV channels and a wide range of multimedia services and is part of SRG SSR.
RSI wanted to overhaul its asset management, but at the same time needed a tool for post-production, that would help it import, acquire and organize all the material needed for editing video in Apple Final Cut Pro® Xand audio in Avid® Pro Tools®.
Switzerland’s Oldest Private Broadcaster Gets a Modern Media Makeover
Today’s content creation landscape is complicated. Media producers have to embrace new production workflows and increasingly diverse options for viewing video. In addition to traditional cable and satellite, streaming services (OTT) are claiming an ever-increasing share of viewers’ attention, often in new formats like HDR and 4K. There is no “one size fits all” solution. The best approach is an open solution that splits workflows into different layers, weaving best of breed technology to create an agile platform that simplifies and facilitates media creation, management and distribution while providing flexibility for growth.
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.