INDUS TRY. PART 2: EDITING IN THE CLOUD
MICHAEL CIONI Global SVP of innovation, Frame.io
ALEX GROSSMAN CPO, Symply
JAMIE ALLAN Media, entertainment & broadcast industry lead, EMEA , Nvidia
Cioni, one of the most prominent production and post-workflow experts, joined Frame.io in 2019 from Panavision, where, in a similar role, he spearheaded the 8K Millennium DXL camera.
A 20+ year veteran of the storage industry, Grossman was former VP of M&E at Quantum before founding Symply. He holds, and has contributed to, several patents associated with content management and storage technology.
Having spent his career with a focus on end-to- end technology and workflows, Allan now helps Nvidia customers define use cases, solutions and deployments of GPU accelerated systems.
STEPHEN TALLAMY CTO, Editshare
PAUL MATTHIJS LOMBERT CEO, Hedge
EMILY FAIRCLOUGH Pro video business manager, Scan Computers
Tallamy works with engineers to define the approach for the selection and adoption of new technologies. A keen innovator, he holds patents in metadata management, video content generation and video access control.
In 2016, Lombert started Hedge, one of the most satisfyingly designed software solutions for remote post-production teams. Every day it chugs away to manage multiple copies of data and communicate edits between teams.
Fairclough has been in creative industries for over ten years. For the past five years she’s worked with Scan, growing their production, broadcast and bespoke vGPU and workstation solutions.
L ast issue, we discussed why the cloud is a great tool for teams working in post-production, with Michael Cioni comparing its benefits to the improvements made in music consumption. In his words: “The cloud redefined it. The convenience, quality and experience of centralised, interactive assets has changed the expectations of how consumers interact with media. The same can be said for work behind the scenes in the M&E industry; at its core, the concept of cloud is to centralise assets across teams, regardless of their location or discipline.” He continues: “Just as the cloud has redefined the landscape of consumer behaviours, so shall it redefine how professionals create.” We also discussed the rapid move to the cloud, spurred on by remote working during the pandemic, and questioned whether the future of post-production is
adoption, and how the cloud could make its way beyond post-production in filmmaking. What are the benefits and drawbacks to a completely cloud-based workflow, and a hybrid one? MICHAEL CIONI: When file-based capture began to explode from 2008-2012, the industry went through a hybrid period, in which both formats were equally favoured. Most commonly, people that caught on early with file-based cameras still delivered on videotape. Similarly, the
going to be completely cloud-based. Many of the experts instead landed on a hybrid approach, as Paul Matthijs Lombert confirms: “It’s hybrid, from now on. Producers understand they have a choice to go on-premises, remote, or both. They can switch modes for each production (even during). We’re living in a free world, as opposed to being forced to work remotely because no one can make it to the office, or vice versa.” Now, we continue this conversation, examining the pros and cons of each approach. We also look at industry
“The positives are scalability and flexibility. In an era of unprecedented, unpredictable change, it’s a business imperative to adjust to new circumstances”
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