Issue link: https://digital.copcomm.com/i/1179544
by James Delhauer 52 The first is Adobe Prelude, a tool used to ingest, index, and log media in a tapeless environment. Speaking broadly, it is most useful for copying files from recording media to external storage devices. Users are able to select a source device, such as a memory card or camera mag, and copy the contents of that device onto multiple redundant media drives simultaneously. During this process, it can also perform a hash check based on one of multiple logging standards in order to verify that the media that lands on the destination drive is verifiably identical to that which was found on the source device. These protocols include file size comparison, bit-by-bit comparison, and the MD5 message- digest algorithm comparison. This ensures that the media manager will be notified of any digital copy errors and can address them on set so that these sorts of errors will not come back to haunt the production down the road. Once ingested, clips can be played back for review or roughly edited together in order to ensure continuity. Metadata Non-Linear Editing Platforms: ADOBE CREATIVE CLOUD A dobe's software portfolio currently includes more than twenty individual apps and services that perform a wide range of tasks—many of which are recognizable as industry standards in their specifi c fi elds. Adobe After Effects is considered to be the most popular visual effects and compositing application for video in the world. Adobe Photoshop has consistently been one of the most pirated pieces of software for more than a decade. Although most of their software can be used as standalone products, many of these applications were designed in order to integrate with one another, allowing users to start off using one program and pick up right where they left off in another. While all of the Adobe programs are valuable in their own right, three of their applications are of particular signifi- cance to Local 695 engineers. As the world entered the computer era and the first non-linear editing systems were developed in the late 1980s, one of the biggest technological revolutions within the industries of film and television began. The previous standards of manually cutting filmstrips and using flatbed editors quickly became obsolete. Today, digital non-linear editing software forms the basis of post- production workflows across the globe. New tools to edit video, design sound, color grade, and create visual effects are being created every day. Computers, tablets, phones, and even video game consoles all have built-in applications designed in order to take audio and video files and edit them together into a finalized product. Where editing was originally a skill only seen among those who worked in Hollywood or broadcast television, the technology and knowledge have now been so widely disseminated that even children are learning to edit videos in school. It is hard to argue that anyone has created more tools for this purpose than Adobe systems. While film editing remains the jurisdiction of our brothers and sisters in Local 700, these tools are also of the utmost importance to Local 695 video engineers, whose responsibilities include media playback, on-set Chroma keying, off-camera recording, copying files from camera media to external storage devices, backup and redundancy creation, transcoding with or without previously created LUTs, quality control, and syncing and recording copies for the purpose of dailies creation.