challenges must be addressed to provide a universal approach without performance limitations. The goal is to move projects between locations and editing environments, regardless of the client software. That means full synchronisation, including bins and project locking; the content and the structure must be delivered complete, without wasting extra time in dragging and dropping. Synchronisation should occur server-side – with no required extra steps by the user – and be bi- directional, so decisions made by one editor are captured and available to all. The result of all this will be greater productivity and efficiency, less stress for the post-production team – and more engaging, entertaining content for viewers.
software and other tools, but capable of delivering material in the right format for each. It may even be that a specific event calls for multiple editing packages, with a specialist, fast- turnaround editor for halftime highlights, an editor using the house
VIEWERS ARE CONSTANTLY LOOKING FOR MORE: MORE ANGLES, REPLAYS, GRAPHICS AND INSIGHTS
multiple sources (eg the venue and the production base), including the cloud. Projects are then defined in this central workflow space, and assigned to individual editors as required. This abstracts workflow management from editing. It follows that the storage network and asset management system must be completely agnostic to the editing
software package back at base – and maybe a third application used by an editor working from home. UNIVERSAL APPROACH It calls for imagination on the part of the workflow designer to find ways to achieve that integration, while respecting the look and feel of the third-party edit software. These
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