20 TVBEurope The Workflow
cutting edge At the editing
LIKE ALL production areas, editing has been affected greatly by technological developments in both electronics and IT. And that looks as though it is set to continue. So how do those who are
actively involved in producing editing packages view the current and future state of that area of the production cycle? Will the cloud make a significant difference to techniques? What are the challenges of 3D? And how do these vendors see the way ahead? We put these and other questions (in alphabetical order) to David Colantuoni, senior director of product management, Professional Video at Avid; Atsushi Kataoka, director, Product Planning & Marketing, Grass Valley; Steve Owen, Marketing director, Quantel; Maurice Patel, Entertainment Industry manager, Autodesk; Niels Stevens, Adobe UK Business Development manager, CS Video; and Richard Threadgill, senior director, Channels & Sports Market Development, Grass Valley. (Ed note: We did ask a
representative from Apple to take part, but our invitation was declined. See separate article by David Fox, page 25.)
TVBEurope: What do you rate as the biggest innovation in NLE in the past two years? Colantuoni: The integration of file-based media into existing editing workflows, and end-to- end file-based workflow adoption. Manufacturers have had to develop their products to take into account changing customer demands to mix and match media and accept the proliferation of file-based formats. For example, Avid has made significant architectural enhancements to Media Composer, and developed AMA (Avid Media Access) plug-in technology to assist in this evolution. Kataoka: The continuing popularity of file-based camcorders and the expansion of network bandwidth is allowing easy access to high-quality video data in large scaled shared
Steve Owen: “More speed, better integration, handling more file formats, more tools – our
customers really keep us on our toes!”
networks. More and more editors are not just editing on computers, but also sharing content and projects via the web during their content creation process. Owen:Remote editing — and
it’s only just got started. Customers want to take it in all sorts of different directions, and we’ll be able to assess its impact better in a couple of years. Then the new workflow possibilities it can offer will have been much further developed. Patel: In the past two years the
market has undergone significant transformation, though arguably the biggest innovations driving those changes have been outside
David Colantuoni: “The experience should feel as though you are actually in your newsroom — except you could be anywhere in the world”
of the NLE solutions themselves. Probably the most significant change has been the rapid emergence of low cost, digital cameras that have completely democratised acquisition of high quality, high definition (HDTV, 2K, 4K+) content. This combined with the compute performance of multi-core processors, low cost storage and bandwidth, and high performance GPUs have made the acquisition, storage, and manipulation of large amounts of digital data extremely cost effective. Stevens: The world of acquisition has seen a shift from tape and film-based cameras to
Maurice Patel: “Ironically, 3D is actually a misnomer. What is typically referred to as 3D is really a stereo image pair – two 2D”
In the latest of our broadcast industry roundtable discussions, Philip Stevens talks to key providers of editing systems about trends in the market
toes! What they want is anything and everything to help them do their jobs better, and it’s great that they keep the ideas coming through. Patel: We ran a detailed
market study among professional editors to help better guide the development of Autodesk Smoke. We asked them specifically about their number one concern… and the answer was TIME. Professional editors are expected to do more and the pressure is on for them to deliver high quality results faster. This caused us to rethink our
strategy and launch Autodesk Smoke 2013, providing editors with a powerful integrated workflow that allows them to be more creative within NLE without having to step out of
“We ran a detailed market study among professional editors [asking for] their number one concern… and the answer was TIME”
Maurice Patel, Autodesk
digital storage cameras. To accommodate these new formats, the NLE community has embraced the level of native realtime performance now available with 64-bit platforms — for me this has been the biggest innovation.
TVBEurope: What is the most common demand from users in terms of improvements/ features/upgrades? Colantuoni: Customers are asking for more workflow enhancements, such as integrated and improved advanced colour correction or FX functionality, coupled with speed improvements through GPU acceleration. Additionally, customers want seamless interoperability with other specialised products through AAF or XML. Owen: More speed, better
integration, handling more file formats, more tools — our customers really keep us on our
the application into other software packages. Stevens: This varies between
different communities of editors, depending on the type of programming they create. Intelligent asset management tends to be a common demand from users across all areas, though. Threadgill: Doing more with less is a constant demand from the market. While this doesn’t necessarily translate to a single feature set per se, it does require the whole of a solution to be tuned to meet this need. Today, a user can edit 4K footage with a suite of full 10-bit colour correction tools…on a laptop. More power, less cost…amazing stuff really.
TVBEurope: What difference does cloud computing make to NLE? Colantuoni: For Avid, it’s all about a seamless user experience. We will build systems so that users do not
www.tvbeurope.com August 2012
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