Issue link: https://digital.copcomm.com/i/1127068
www.postmagazine.com 13 POST MAY/JUNE 2019 EDITING EFFICIENCIES N E X T I S S U E The world of post production is large, but Post magazine brings it to you in a comprehensive and easily-manageable way. SUMMER MOVIES Post continues its report on some of Hollywood's biggest blockbusters MUSIC VIDEOS Post houses get creative in these artistic pieces SPECIAL SECTION: AR/VR No longer emerging technologies, a look at some real-world applications EMMY CONTENDERS A look at some of TV's top candidates DP/COLORIST RELATIONSHIP Behind the scenes at how the two work closely together to develop the right look STORAGE GALLERY The newest technologies and solutions www.postmagazine.com POST DECEMBER 2018 W H E R E T E C H N O L O G Y A N D TA L E N T M E E T S M PLUS: POST'S ANNUAL SWOT ISSUE VFX: MARY POPPINS RETURNS ANIMATION: THE GRINCH MAKING MOVIE MAGIC! DIRECTOR ROB MARSHALL ON MARY POPPINS RETURNS W H E R E T E C H N O L O G Y A N D TA L E N T M E E T S M www.postmagazine.com POST JAN/FEB 2019 GAME NIGHT! POSTING TOP NBC COMPETITION SHOWS PLUS: OSCAR PICKS VFX: AQUAMAN ADAM MCKAY DIRECTS VICE VFX: WELCOME TO MARWEN W H E R E T E C H N O L O G Y A N D TA L E N T M E E T S M www.postmagazine.com POST MAR/APR 2019 SESAME STREET TURNS 50 POSTING TV'S LONGEST-RUNNING CHILDREN'S SHOW PLUS: VFX FOR TELEVISION SPECIAL: STORAGE SUPPLEMENT ANIMATION: HOW TO TRAIN YOUR DRAGON 3 VFX: DUMBO, CAPTAIN MARVEL MARI KOHN 818. 291.1153 mkohn@postmagazine.com LISA NEELY 818.660. 5828 lneely@copcomm.com WILLIAM RITTWAGE, PRESIDENT/CEO 818. 291.1111 brittwage@copcomm.com CO N TACT U S A B O U T P R I N T & O N L I N E A DV E RT I S I N G O P P O RT U N I T I ES : P O S T M A G A Z I N E . C O M MATERIALS CLOSE: J U LY 1 0 T H SPACE CLOSE: J U LY 5 T H ISSUE DATE: J U LY/ AUGUST 2 0 1 9 process of ingesting. It's highly inefficient to use a complicated and expensive NLE application just for that. Vantage, as an example, has a new Media Manager app built just for this type of task. Having me- dia more organized and already "checked in" greatly streamlines the time in which editors can get started editing, and we can only expect this to get faster as AI and machine learning techniques make computers even smarter about matching assets to projects based on the plethora of available metadata. RENDERING/EXPORTING THE FINAL RESULT As I've mentioned, there is little we can do to aid in the creative process of crafting the story, but there is a final stage which we can improve — render- ing/exporting the final result. NLEs need to render their timelines out to a single clip, and then deliver the final clip to the destination in the format required for that end-point. If the final result has to go to several different end points, then the editor must repeat this export multiple times. This, again, is a senseless waste of expensive resources, in both human and equipment terms. It would be much better to have an external system take the timeline and render it into the final clip (this step may not always be pos- sible, though), and then transcode and deliver it to all of the end points required. This process can certainly be automated, as the external system can be instructed which formats it should make, and how it should deliver the results, via its control API. Doing so releases the edit bay and editor from dealing with that mundane task and lets them get back to what they do best — editing the next story. While there are some operations within a media workflow that don't directly benefit from the use of external automated processing, the overall workflow itself can almost always be improved — by looking at the edge functions, rather than the core function. It's always best, both for business and the sanity of staff, to let humans do what they're best at and leave the mundane repetitive tasks to the computers.