Asia-Pacific Broadcasting (APB) August 2017 Volume 34, Issue 6 - Page 15

CREATION August 2017 15 tools ease workflows “Compliance and content version- ing is a dynamic and cyclic process that involves view, edit, review and approval steps,” Elvidge continues. “In the past, for many content creators, this has meant an inefficient process where video needs to travel around an organisation to different stakeholders along with notes and edit in- structions in various formats.” A cloud-based process, alternatively, makes this a lot simpler by having the proxy video, edit decision list (EDL) and compli- ance notes all within a unified workflow where every person — whether a compli- ance expert, craft editor or editorial director — can all access the same source irrespective of where they are based, says Elvidge. TVT is also an advocate of a hybrid cloud model, which the company manifests in its ContentSelect cloud-based media management platform, which was built in 2010 to help process content for clients such as A+E, UKTV and Discovery. “We built it out of necessity as, although public clouds such as Amazon and Azure are perfect for certain types of workloads, ContentSelect is in essence a hybrid private cloud, as our mezzanine formats are held on our local data centre storage while only proxies are shared in the cloud,” Elvidge explains. This approach thus avoids the band- width requirements for ingress and charges imposed by public clouds for data egress. Moving large video files between public clouds can be a “cumbersome process”, and has little value if edits need to take place at local suites, he adds, while suggesting that by using ContentSelect and the cloud, even 4K/UHD and 8K workflows can be easily managed, because there is no impact on the uploaded proxies required for compliance and other workflow activities. “For us, the cloud and ContentSelect result in a simpler and more efficient pro- cess for editors charged with ensuring that content adheres to both legal compliance and editorial requirements,” says Elvidge. “Where cloud can really assist is in man- aging the workflow and ensuring that all the relevant metadata and approvals are handled in a consistent and easy-to-manage fashion.” One editing system that promises to offer a “complete revolution” in post production is Blackmagic Design’s DaVinci Resolve, now available in version 14. Described by Blackmagic Design as “the biggest release in the history of the product”, DaVinci Resolve 14 includes features such as up to 10x per- formance improvement, a whole new audio post-production suite with Fairlight audio built-in, and collaboration tools that allow multiple users to edit, colour and mix from multiple systems, all in the same project at the same time. Richard Lim, director, Blackmagic Design Asia, elaborates: “DaVinci Resolve has always been known for its pro- fessional  colouring capabilities. In DaVinci Resolve 14, editing and sound mastering tools are now available. What this means is that all facets of production can be handled in one software, thus eliminating time wasted trying to sync files when they pass from the editor to the colourist and to the audio engineer. “And the new collaboration fea- ture in Davinci Resolve 14 means that you could have multiple users work- ing at the same time for editing, col- our and audio. There is also an in-software chat feature that allows communication among its users, and safety features on the projects being worked on would be safe. “As such, it essentially means that, for the first time, all post-production aspects of editing, colour and audio can be done within a software, which will increase effi- ciency and thus allow more time and space for enhanced creativity.” According to Lim, DaVinci Resolve is currently the software that supports the most codecs that are used in the in- dustry, and across different resolutions. One such user is freelance colourist Ravit Sripantawanusorn, who started his journey with DaVinci Resolve 8. “As a freelance col- ourist, I prefer using Resolve as it gives me the best image quality because of the 32-bit float YRGB. I colour TVC, short films and more using the advance resolve panels and the mini panel. Once you use the balls to dial on Resolve panels, you can’t go back because you will miss it too much if you switch to anything e