Exploiting and Protecting Valuable Interplay Metadata with Marquis Broadcast’s Interplay Metadata Export Tool (IMET)
Avid® Interplay® PAM has become a mainstay of many production workflows. It is relied upon daily by large and small production facilities around the world to find, track, archive and deliver projects. Some have been using Interplay for many years and have been actively managing the media on their ISIS NEXIS; usually archiving media after use. However, for very good reasons they have intentionally not archived or deleted the Interplay metadata associated with project media that has been archived.
Like moths around a light, we’re drawn to NAB. This year, over 100,000 ‘media moths’ attended NAB but why? One thing is clear, it’s much more than just another media conference and exhibition. As industry change continues to accelerate, the vendor-customer relationship is also becoming more nuanced. A new eco-structure of partnerships evolve, often driven by customers wanting to do things that have simply never been done before – the most productive way to have these discussions is face-to-face.
Medway is a very powerful and scalable media-centric middleware solution, enabling a complete digital workflow to ensure edit platforms, MAMs, video servers and archive systems can work seamlessly together. Designed to meet the demands of the most challenging production environments, Medway is used globally by broadcast, production, post production, newsrooms and playout facilities. In addition, it is an excellent plug-and-play replacement for old Avid Transfer Manager systems, offering immediate cost, operational and performance benefits.
As someone who is constantly trying to build better products, I’m always asking questions and listening to the ones I get asked. For several years now I’ve asked every broadcaster and media production company I’ve met what they plan to do about ‘the cloud’. I’ve had replies which range from ‘the media must never leave the premises’ (imagine in a rising Dalek voice to get an impression of the resolute belief), through to ‘we started looking in 2008 and have lots of workflows in the cloud already’ (just yesterday). What is interesting is how those answers have changed and how people are now starting to come to us to ask us about the big ‘C’ at tradeshows. So, here are some of the most common or interesting…
Strange as it seems, despite the limited number of broadcasters around the world, they all appear to have different requirements, equipment and as a result; workflows.
Those workflows get ever more complex as the methods of distribution continue to expand. We may have taken on VOD and IP delivery, but we've not given up on traditional broadcast. As I write this, Wimbledon is on. In the UK the first colour television was broadcast by BBC2 for the Wimbledon coverage on July 1st 1967. Yet, the last analogue TV signal was not finally turned off until 24th October 2012 and in 2013 there were still 13,000 households in the UK with black and white TV licences. So, don't expect to be shedding the older distribution methods anytime soon.
X2Pro Audio Convert, which integrates Final Cut Pro X into professional audio workflows, is a ‘big hit’ with Trailer Park Boys. The popular Netflix show which follows the booze-fueled misadventures of three longtime pals and petty serial criminals running scams from their Nova Scotia trailer park, is edited by Jeremy Harty, supervising editor for Trailer Park Boys and Swearnet.com.
Jeremy Harty, owner & manager of Nova Scotia based Digiboyz Inc. explains: “Trailer Park Boys has been using Final Cut Pro X and X2Pro Audio convert for four seasons now. It’s helped our sound post so much we couldn’t imagine not using it. Simple, fast, and accurate. All you want in a post workflow.”
While the thought of fire or flood strikes fear into the heart of those responsible for managing IT infrastructures, the fact is that simple equipment malfunction, like the failure of a disk drive, or even human error itself, are by far the most common causes of local outages. Having a robust major disaster recovery plan in place is of course an essential business process in today’s digitally driven world, however, it is also important to understand how data will be retrieved in the event of more mundane issues too.
The fact is that with tight production deadlines few post houses or broadcasters could afford to start a project from scratch if their primary edit storage were to go down. As a result, many organisations have a significant vulnerability when it comes to maintaining business continuity.
Although many manufacturers are improving their support for data interchange, a solution appears at best, a long way off. Broadcast facilities that want to be more productive need to ensure that their editing systems work together without fuss. Unfortunately that is easier said than done.
Editing software packages are all the same. No, I know that is not right, but in terms of doing 90% of what most editors need to do most of the time, they all offer similar functionality.
To some extent editing software is now a commodity and is interchangeable. Editors are usually efficient and comfortable using one product to complete a project and facilities are increasingly allowing staff to use their tools of choice. Yet, inevitable differences between edit platforms and challenges arise when different parts of the same workflow are managed by different staff with each wanting to use a different platform. Managing such ‘cross platform’ workflows is a challenge due to the many integration issues. Both editors and facilities want and need ‘anything to work with anything’. Yet, this is far from the reality today and therefore integration is one of the greatest barriers to improving productivity that facilities face.