I’m on a plane from Vegas – after nerding out at the Digital Signage Expo. It’s a full circle, having been christened into Digital Signage around 2002 with Graybow. Glasfire (3M’s Vikuiti), if any of you remember. In any event, this short 50 minute jaunt from Vegas to Burbank gives me time to write a quick blog.
I’ve called this meeting today because I love you. And I want you to get help. You deserve it. We deserve it. As part of your family (albeit a lengthy alphanumeric system ID in your database), it’s my job to stick by you when the going gets tough. And tell you when you’re screwing the pooch.
Last week on my POST Magazine blog, I briefly discussed Encoding in Post: The Four Hot Spots. I figured, “Why not elaborate on one of those areas?” Thus far, I’ve discussed the concept of Pre-encoding, and various facets of the final encode. Let’s talk about the most vital and often overlooked area: During Editorial.
I was going to dazzle you all with a post about the exiting realm of Digital Asset Management (Oooh! Ahhh!), but I thought I would stick with the encoding kick I’ve been on recently.
Encoding solutions are much like interns: you have no idea what they are fully capable of, you have no idea how well they can multi-task, and there sure as hell there are a lot of ‘em.
Thus, we need to develop some baselines with which to judge perspective candidates. There are several yardsticks with which to measure these by. But which ones? Features? Speed? Cost?
Last week, we covered the concept of Conditional Encoding (KCM: Kammes Compression Methodology, still looking for investors) and you may have noticed that I put an odd node on the graphic workflow. The LOGIN. Why? Because the next phase of this workflow is going to piggyback on not only the Internet, but on your LAN as well.
The post industry lives and dies around the concept of deliverables. What specifications have to met to appease the viewer, server, or engineer on the other end. Many times, just getting the deliverable out is a chore in itself. The last encoding format sheet I read from a leading encoding manufacturer had 5 pages of supported input / output formats. Being able to decipher these often cryptic encoding acronyms and numeric values appears to need a degree in engineering.
I recently was posed with a relatively simple quandary from a studio:
How can I get edits which need review out to non tech savvy producers for approval so they can:
A) easily view the edit (did I mention easily?)
B) stay out of the edit room.
Off and on for several years, I was involved with a post facility that had what they referred to as “The Money Room” Quite apropos, not only for the greenish hue to the walls, but what they *did* in that room. Unbeknownst to them (but now beknownst to me) the so-called castoff activities and backroom chores which took place in that space are now the new(er) ways to make money at your post facility…and even be a marketable service.