--based in San Diego, CA and founded 16 years ago--just released Sorenson Squeeze Server 1.5, which the company calls "the first enterprise transcoding solution in the market to optimize performance for all three leading adaptive bitrate streaming platforms." Those platforms are Adobe
Dynamic Streaming, Apple
HTTP Adaptive Streaming and Microsoft
With its Windows-based transcode workflow, Sorenson Squeeze Server 1.5 automates the process of transcoding video files for optimized playback with any container or format, from MXF to Flash, h.264 and WebM and on any device, from smartphones and tablets to set-top boxes and connected TVs.
Sorenson Media COO Eric Quanstrom
"Video has taken center stage everywhere and anywhere you can imagine," says Sorenson Media COO Eric Quanstrom. "Whether you're talking about OTT (over the top) plays down to tablets, a marketplace that is completely reinvigorating the mobile base, ubiquity is the rule of the day. We're very familiar with the morass of folders, containers, formats and try to simplify this as much as possible."
Although this is only a half-point release, Quanstrom says the company "dug in the weeds to make a lot of changes to the base, root functionality." That included special attention to Watch Folders. "With multiple edit bays connected to a network folder, as editors finish the job or get to a different stage, they can drop the files into a Watch Folder," he explains. "Previous to 1.5, we only passed the root folder. Now if that folder is buried deep on a C drive, the server intelligently looks for Watch Folders."
Other new features include easy path naming, in-and-out point granularity, thumbnail flexibility (including time settings and separate thumbs), additional queue statistics that can be used for automatic scaling, and linked audio tracks. Squeeze Server APIs allow developers to enhance throughput with automated workflows while controlling the quality of the video, as well as automatically publish encoded videos to a variety of destinations. Also streamlining the workflow, Sorenson server's Preset Exchange gives users access to presets created by video compression experts, saving.
"The main optimization with additional input/output flexibility was around Microsoft's cloud, which has a notion of storage called Azure Blogs
," Quanstrom explains. The server now easily integrates with any Windows-based cloud environment and makes it easy to develop workflows that include cloud-based storage or processing of files by offering handling of large video files into and out of Microsoft Azure Blobs and Amazon Web Services S3
"We launched our encoding product in the cloud initially, and we have a number of cloud-based offerings that take advantage of Squeeze Server," says Quantstrom. "This gives the customer the assurance that he can future-proof his business. All those nodes will talk to one another, so IT folks have a lot of flexibility as they plan and provision through-put."
Web client interface for Squeeze Server. Please click above for larger image.
Quanstrom points to some of the other advantages of the Sorenson Squeeze server, which offers the added attraction of an attached database. "That way, we are not charging you twice," says Quanstrom. "Others will sell you a transcoder, the node itself and the second you want to go beyond one, the database is a separate charge. We've bundled that database alongside Squeeze Server."
A post facility or studio with 10 or 15 edit bays can now offload compression jobs onto the server, to enable editors to keep editing. "Bottom line, we're enabling very advanced workflows that are fairly silent, unobtrusive and don't cause any extra steps or anyone else involved in the workflow," he adds.
Emphasizing Sorenson Media's serious focus on cloud computing, Quanstrom notes that the company was the only video solutions company appointed to President Obama's Cloud Commission
, a working group that made a number of recommendations on how people should perceive and use the cloud.
Attending IBC is a natural for Sorenson Media, he adds. "At least 50 percent of our booth traffic is going to be people who already have Sorenson Squeeze," Quanstrom says. "The way we sell Squeeze, it's a one-time fee with an annual upgrade, so they've already been upgraded. We really see IBC
as looking directly at the new customer, obtaining new customers or expanding our footprint with current customers."
For those unable to attend IBC, Sorenson Media may have version 2.0 ready in time for those attending NAB 2012
|Related Articles / Tutorials:|
IBC 2012: Sorenson Media Introduces Squeeze Premium
Sorenson Media has introduced Squeeze Premium, a version of its flagship Squeeze encoding engine that is now designed to work in a server environment. Developed in response to customer demand, Squeeze Premium shares many similarities with the desktop version - including user interface - which makes it easy to learn and use. At the same time, Premium frees up editors and computers in the post house environment, streamlining workflow and efficiencies.
Sorenson Media Squeeze 8.5 Update Review
Each time Sorenson releases a new version, the improvements over the previous version are always significant -- and this new version has that same M.O. You'll see improvements in speed - yes, it's even faster than before - and so much more. Jerry includes a breakdown of the new features and what he thinks about the updates.
Sorenson Squeeze - NEW !
Jerry Hofmann takes a look at Squeeze 7
With improved video quality, faster H.264 encoding, simplified workflow with Squeeze's batch window, additional input and output formats, adaptive bitrate encoding, just to name a few of the new features, read why Jerry Hofmann is excited about this new release.
|Recent Articles / Tutorials:|
Art of the Edit
Always Be Editing: Sculptors & Bricklayers Revisited
Do you edit like a sculptor, or like a bricklayer? It seems a simple enough question, but as longtime editor, post house owner, and VFX software developer Simon Ubsdell shows, the implications for how this affects the way you edit can be profound. His advice, regardless of where you land on the spectrum? Always be editing.
Hearing The Handmaid's Tale: Jane Tattersall's Sound Career
With Emmy, BAFTA, Motion Picture Sound Editors Golden Reel, Canadian Screen, and Directors Guild of Canada Awards among many more, Jane Tattersall shares insights into a career in sound editing entering its fourth decade with two young women just beginning their own careers in the field. Their conversation begins with Jane's work on the Hulu hit series, The Handmaid's Tale.
Feature, People / Interview
Art of the Edit
Indie Film Sound Editing: A This Guy Edits Tutorial
ACE Award-nominated picture editor Sven Pape ("This Guy Edits") speaks with Sundance Award-winning sound editor Ugo Derouard on The 5 Five Steps of Audio Post Production: Sound Editing, Spotting, Dialog Editing, Sound Design, and Sound Mixing, paying special attention to the specific needs of, and techniques that can work best for, independent filmmakers.
Adobe After Effects
Stabilize 360 Video with Mocha VR
In this intermediate tutorial, Mocha Product Manager Martin Brennand takes you through smoothing the horizon in a Samsung Gear 360 shot using the Reorient Module in Mocha VR. Jittery 360 video footage can be made more watchable by stabilizing with Mocha’s planar tracking tools. The tutorial is done via the Adobe After Effects plug-in, but the techniques apply to all versions of Mocha VR.
DJI Mavic Pro In Depth Review - The Best 4K Drone?
VFX guru Tobias Gleissenberger was so delighted with the DJI Mavic Pro 4K drone that he bought (yes, bought) that he was inspired to take a break from making tutorials to create an in-depth review of this compact, lightweight, consumer drone offering terrific value. No, it's not a platform for your digital cinema camera, but if you're looking for a fast, fun, integrated 4K camera drone packed with features, the Mavic Pro might be for you. This review is delivered Surfaced Studio-style, with wit, high energy, and details you won't find anywhere else.
The Panasonic EVA1: Questions Answered!
Anticipation that Panasonic began building for their "mystery camera" at April's NAB Show 2017 was paid off at June's Cine Gear Expo 2017 in Hollywood, as Panasonic finally unveiled their AU-EVA1 cinema camera. Compact, lightweight, equipped with a newly designed 5.7K Super 35 sensor, and positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos. Panasonic Cinema Product Manager, Mitch Gross has provided some answers to early questions about the EVA1’s target audience, shooting applications, Dual Native ISO, the 5.7K sensor, and more.