Workflow has become a buzzword in our industry, but EditShare
's EMEA managing director James Richings recalls how it's been a key concept at his company for a long time. "We've been shouting about collaboration for five years and now it's finally happening," he says. "And we have the end-to-end option; you can pick whatever pieces you want. We play with lots of other companies and we give APIs away so people integrate with our products."
Providing options for multiple workflows--not dictating how to work--is EditShare's jumping-off point, and it's worked well for a variety of productions including several soap operas in the U.K. and New Zealand. "The solution we ended up with is tapeless acquisition in HD," Richings explains. "We seamlessly create an Avid and FCP sequence behind the scene so it's done. No more digitizing, no more lining up ISO feeds--you just trim it. It enables editors to start working right away and, with media asset management flow, script supervisors can now put notes into the system and everyone can see it from everywhere. It has changed the way everyone works."
At NAB 2011, EditShare showcased enhanced production workflow applications and tiered storage line up. New shared storage capabilities include improved project sharing for FCP compatibility, simplified media space management, support for solid state drives and dual-port 10-gig cards, a new streamlined user interface as well as XStream Solid State Drives performance benchmarked at 2.6GB per second.
EditShare Flow, which offers media management capabilities for tracking assets across the production chain, now supports AVC-Intra (SDI and File Ingest), ProRes in Flow Scan, full metadata support for NLEs including clip, sequence, and marker metadata, and restores content offline clips directly from a Sequence.
The Flow database allows you to track your media assets throughout the production process from ingest all the way through to archiving on Ark Disk or Tape.
Geevs, for broadcast playout, features a new user interface and a dynamic new sports application with multi-channel, synchronized recording and playback for up to 16 cameras, including instant playout and slow-motion replay. Also new is support for post production formats Avid DNxHD and ProRes. For archiving and media protection, EditShre Ark's enhancements include a new partial file restoration capability that supports any codec.
Geevs Broadcast Servers for Ingest and Playout suit a wide range of demanding workflows, such as simple ingest, complex newsroom integration, live sports with instant replay, multi-camera studio ingest, or 24/7 scheduled playout.
EditShare is also well known as the company that acquired the NLE company Lightworks and then turned it into an Open Source initiative. At NAB 2011, the company showcased the phrase one release from the Open Source initiative. Creating an Open Source initiative for Lightworks is a first in the industry, and many editors who gravitated to the system are applauding the move. EditShare reports over 100,000 downloads from the site. New hardware I/O support includes Matrox MX02 and there's now AAF integration with Avid and ProTools.
Academy® and Emmy® award-winning Lightworks was introduced in 1989 as the first and most advanced non-linear editing system on the market and quickly gained fame thanks to editors such as Chris Gill and multi Oscar-winning Thelma Schoonmaker.
"We had over 1,700 developers when it closed last September," says Richings. "And we're on this phased approach to release. Now it's getting the application out there. The GUI has changed. The idea is to let people try it and take away the risk. Things we can't give away for free, such as codecs, will be bundled and sold very cheaply." A full time forum can be found at www.lightworksbeta.com
Also of note, EditShare demonstrated Lightworks' stereoscopic 3D capabilities, which are being used by editor Thelma Schoonmaker on Scorsese's upcoming Hugo Cabret. Lightworks was also used to edit The King's Speech and Hanna. For those of us who have watched the waxing and waning fortunes of Lightworks, EditShare's efforts are intriguing. The coming year will be interesting to see how editors adopt Lightworks and make it their own.
Tariq Anwar used Lightworks to cut "The King's Speech" which won 4 Oscars® with actor Colin Firth (above)
“I am thrilled to be joining the COW team,” said Debra Kaufman, newly named Associate Editor of Creative COW Magazine. “In an era in which so much coverage has shrunk to 300-word sound bites, I'm delighted to be able to cover the dramatic changes in our industry in depth. Additionally, I look forward to reaching a huge number of engaged readers working in production and post, in the U.S. and internationally. Publisher Ronald Lindeboom and Editor-in-Chief Tim Wilson early on understood the importance of a web presence, and have created an astonishingly large audience both online and in print.”
Look forward to more great stories from Debra in Creative COW Magazine, and online here at CreativeCOW.net.
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