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anyone. It’s as if all content, even content 2000 miles away, is right on your machine. “There are many different ways of doing editing from everywhere,” continues Savina. “One is the way we’re doing it today with OneCut and that we’ll be doing with Adobe in the future. But there are also ways of leveraging remote desktop capabilities to provide distant teams access to editing capabilities. For example, where you can provide Adobe editors with remote editing using a mix of on-premises and cloud infrastructure.” He explains: “You used to have to connect to an FTP site or a portal and then do a download or partial download of pieces of material. You would wait for that download to be finished and you managed it in your local content. Then you would edit and send it back. Now if you’re a remote bureau or producer, you’re completely connected to the central newsroom, and not feeling the pain of being far away. All of the caching is being done in the background.” and Sports Production, Dalet Pulse UK also explored how newsrooms can use technologies like the Remote Editing framework to more effectively get reliable information and analysis to an always- connected public. When a major incident occurs, it’s a race against time among NEW AUDIENCES, NEW TOOLS In a presentation Fast-Paced News
newsrooms to get the story out first. A matter of a few minutes can determine whether that story is the top hit on a social platform or search engine, or gets buried along other also-rans. Often in the digital world, it’s the first story that is the most shared, most linked to and even the most plagiarised. Being first often means setting the tone for the conversation around a story. The summit also looked at how digital businesses can better deal with today’s complicated content supply chains in a session called Media Supply Chains for Multiplatform Audiences. With content being tailored for many digital outlets, from broadcast to social media to Netflix, and endless assets for localisation and marketing being produced, a solid MAM is essential for tracking and coordinating it all. Wider use of format standards like IMF are also easing pain points by embedding instructions for creating different assets within the file format, rather than producing a new file for every single possibility. n Dalet Pulse’s exploration of ‘edit everywhere’ will have real resonance as it rolls out its Pulse summit in locations worldwide this
ON THE PULSE Dalet Remote Editing framework connects journalists, producers, editors and other content creators to the central content hub, enabling in-the-field users to edit, assemble and collaborate
Dalet’s director of product strategy, Kevin Savina, explains how, in using the Dalet Remote Editing framework, editors can access any content in the Dalet Galaxy MAM, no matter where they are: “Using the framework, an editor can preview content that is on the cloud, referenced in the central system, and then they can just put it on their timeline. With it copied to their timeline and to their drive, along with handles, they can keep working even if they have a bad connection.” He adds: “The Remote Editing framework will be extended to support a number of NLEs that we work well with, especially Adobe Premiere. We already have available a panel called Xtend that gives you a view into the Dalet Galaxy content, right from the Adobe Premiere interface, and we’re planning to extend to other NLEs.” Premiere is one of the most widely used editing applications in the world, one with which most freelancers and stringers are familiar. With OneCut today (or Adobe Premiere in the future) on their machines and a connection to a Galaxy infrastructure, complex editing from a remote location then becomes available to just about
summer, including Tokyo on 18 June, Singapore on 20 June and Sydney on 16 July.
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