POST PRODUCTION
REMOTE POST PRODUCTION
A clear way to post from home
The process of setting up WFH is so simple that anyone can do it. Here’s how according to Clear Cut. Clear Cut’s users are asked
to download and install a software client application and to send on some information about the device that they intend to use to remote connect. Once the client is installed, the user is provided with login
credentials that are unique to their particular project. Access is not immediately granted when entering the login credentials. A login attempt triggers a notification to Clear Cut’s technical administrators. If that all checks out, then the device is authenticated and access is granted. Once they are logged in, the user is then presented with a list of available workstations to choose from, one of which they have been assigned (with the others being their fellow colleagues workstations also assigned to that project). Clicking on the icon for their assigned
edit workstation, triggers the next round of security. Each suite has its own unique username and password which is sent to the user and even after successfully entering those credentials correctly, there remains one final unique code to enter before the edit suite is available for them to work on. A simpler description of this
process is; download the app, enter your credentials, verify the device, login to the edit suite, enter the unique code, edit. Then, when an edit is completely finished, the user’s device is removed from the system as a trusted device.
“download the app, enter your credentials, verify the device, login to the edit suite, enter the unique code, edit”
rushes uploaded to the facility storage using fast file transfer solutions, ready for ingest.” He says the facility sees no
significant benefits from moving the operation to a third-party cloud at this stage.
Virtualised Virtualising the computer hardware whether on one server on-prem (rather than on multiple individual PCs) or in an estate of Amazon, Google or Azure hypervisors anywhere from Amsterdam to Dublin, still requires a software-based PCoIP solution for remote access. Avid, for example, offers Avid | Edit
On Demand running in Azure. “Avid give you a code for as many Avids as you asked for in the cloud with as much Nexis as you specified,” Watson says. “You might use File Catalyst to upload media to Nexis and off you go. It’s a really powerful way of working. “One downside is that you don’t have the flexibility to install any plug-
in of your choice. Avid does offer a few plugins with more being added. Subject to that constraint you can spin up a shared edit environment in four hours or less and edit anywhere you want.” EditShare has also virtualised its
shared storage, and is optimised to run instances of Adobe Premiere. Its EFSv cloud solution puts high-resolution files into cost-effective object storage but makes those files appear as if they are on a normal mounted block storage file system. At the same time, EFSv provides the scalable high- performance block storage needed for low-latency access to proxy files and renders. Proxies can be generated by EditShare’s FLOW media management system, or by third party tools. “Both high-rez and proxy versions
are accessible at all times, streamlining the editing workflow while minimising costs up to 75%,” says Director of Product Marketing, Lee Griffin. “EditShare is able to assess your current workflow and mimic that in the cloud,
including which cloud buckets to utilise and what workstations to deploy.” The options for a small start-up
range from simplistic cloud storage such as Google Drive and Microsoft One right up to AWS services. “It really depends on the budget,”
Griffin says. “If you are working collaboratively on a project that requires strong security measures, then EditShare’s smart workflow tools are more suitable for you. If you are on your own and working on your own project, then Google Drive or even a local USB 3 drive should suffice.”
WFH – here to stay Many people are experiencing the benefits of WFH, and it looks likely to saty in some form. “I don’t believe that screen to screen technology truly replicates on premises working,” says Nottage. “But there are definitely pros and cons for both options. What we have to do now is find the balance.” That’s a sentiment all in facility-land
will be wrestling with.
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televisual.com Autun 2020
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