theibcdaily Opinion
Building a future-proof media production workflow
Dana Ruzicka, VP segment and product marketing, Avid and Mukul Krishna, senior global director Digital Media, Frost & Sullivan discuss the media value chain
From Hollywood blockbusters to local news broadcasts, the process of creating media content is complex, disparate, and nonlinear. Multiple versions of a single piece of content might be created in 2D and 3D, produced in several languages, and delivered in formats optimised for multiple channels in numerous geographies. Despite this content-creation and distribution reality, however, workflows have not yet caught up.
The hard truth is that media workflows are not traditionally optimised for multi-stream, multi-version content creation and distribution – instead, they have been siloed, with specific hand-off points between pre- production, production, post production and distribution. In the gap between content
creation and media workflows lives the need for technology- driven coordination that will
deliver massive gains in efficiency, uncover new opportunities for monetisation, and deliver new ways for media organisations to connect more powerfully with their audiences on every screen, in every format.
Ultimately, consumers are driving the need for media companies to reassess the alignment between their content and their workflows. No longer married to a single device or even a broadcast or release schedule, for that matter, consumers want on-demand access to the movies, TV shows, newscasts, and video and audio content they love. With the consumer in the
driver’s seat, content needs to be pervasive, as do business models. Most media companies in the current environment are simply pushing content over the top without a clear business strategy.
What starts as a content and delivery problem quickly turns into an IT problem: many media organisations have either pieced together existing solutions available in the market or developed home-grown solutions. As a result, media companies often: Squander time and money on a patchwork of solutions that don’t work holistically Drain IT resources over time to maintain and upgrade these solutions Suffer from collaboration and portability issues due to lack of industry standards Entrench the business user/IT divide
Integrating and streamlining the various point solutions into a seamless 'media value chain' is therefore vital. This imperative, in fact, is at the heart of Avid Everywhere, a vision for the future of the industry focused on the
Dana Ruzicka: With the
consumer in the driver’s seat, content needs to be pervasive
opportunity for all media organisations to connect with their audiences more efficiently, powerfully, and profitably. Avid Everywhere comes to life via the Avid MediaCentral Platform, a platform providing media services, connectivity, and orchestration to support the entire media value chain. The platform is open and flexible, integrating technology from Avid and other providers. This platform solves the challenges media organisations and content creators are facing, by enabling them to produce, manage, deliver, and monetise media using a common technology framework and set of standards — regardless of the vendor and tools they choose to use at each step of the way. Want to find out more? Visit
Avid at IBC. 7.J20
Getting a leg up: The Minivator II is stronger and taller than its predecessor
Minivator II on the rise
Matthews Studio Equipment
By David Fox
MSE’s new Minivator II is a stronger, taller version of the industry standard Minivator lighting stand, first introduced more than 10 years ago.
“The idea of the new fast
digital cameras needing less light or no lights at all is a misnomer,” said Robert Kulesh, VP sales and marketing for Matthews Studio Equipment. “The digital world gives the shooter a much more creative – and bigger pallet, often requiring more and bigger lights to cover the breadth of the shot. “Minivator II is the perfect complement for these and other shots,” he added. Its payload has risen from 27kg to 36.4kg and MSE has extended its maximum height to 361cm (with a load height of 140cm) “without sacrificing strength, safety or stability.” It covers a footprint of 150cm. MSE’s accessory package includes a Rocky Mountain leg and optional sturdy 10cm casters to make it a stronger, safer stand that should be ideal for location work.
The 21.8kg stand uses a double cable mechanism to keep both risers travelling at equal proportions with each turn of the handle (38 will take the fixture to full height), allowing for firm and steady movement of any lighting fixture attached. The addition of combo dual- purpose top castings allows for use of both Junior pin and Baby receiver fixtures. 11.G71
20 theibcdaily
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