Broadcast Beat Magazine 2018 NAB Show Edition - Page 45

clear when, where or why assets were captured and where it’s already been used. An important part of being able to search and find content eas- ily is knowing exactly how it was produced and what programming it’s been subsequently includ- ed in, no matter the location of post-production. Cloud workflows means users are able to link content to a particular project, information that’s easily viewable by editors in another office. With this in place, users can make better asset man- agement choices – whether to wait to reuse a par- ticular piece of content, archive it or even delete it when it’s no longer needed. Accessing a broader talent base Sometimes the right talent isn’t local. Content producers sometimes struggle to find the right people for the right job and if they do, it can come at a high cost. By giving users the ability to remove boundar- ies and making content globally accessible, a broader talent pool is easily accessible. Content creators can choose editors based on whatever criteria they like instead of just geographical location. Enlisting those with the right experience makes genre-led edits much easier. If producing a promo with a particular style for example, an edi- tor who fits that kind of filmmaking can be more easily found. At the same time, being able to enlist editors any- where in the world can result in a longer working day. The ability to edit with cloud content cre- ates a 24-hour workflow where an editor on the West Coast can start a project and pass it on to UK-based personnel at the end of the day for a deadline the following morning. More efficient output output edited content faster. And when enlisting experts as needed, they’re able work more effi- ciently because they’re better suited to an edit job than someone with less experience of specific projects or operations. In fact, with a MAM system that features a proxy workflow, Groupe Media TFO in Canada has reduced freelance costs by 40% while also deliv- ering a 50% increase in output. Evaluating the options Even though cloud technology adoption contin- ues, it might not be the right approach for every- one. Those rolling out a new or updated MAM system need to evaluate the best options for their workflow, whether that’s an on-premise, cloud or hybrid solution. Organisations first need to consider where their teams are located and an assessment of how a system will help them collaborate. They should also consider their need to scale as well as which teams will be contributing and using content and how easy it will be to on-board new teams in future. In an increasing number of use cases, a hybrid solution for asset management is the right answer, enabling implementation into existing production workflows and allowing migration to the cloud in stages. This allows you to adopt cloud technolo- gies as it makes sense for individual needs, bud- get and infrastructure. Whether ready for a completely cloud-centric asset management workflow or just beginning the migration towards off-premise infrastructures, MAM systems are no longer about simply mov- ing and managing content. With the right cloud- based infrastructure in place, content producers can create a more cost effective, efficient produc- tion workflow. Only being able edit in specific locations means output is bottlenecked by the number of edit bays or suites available. Being able to choose the edi- tors they like in whatever location means content producers can deliver more efficient production processes. Remote editing also gives users the ability to work from preferred edit suites config- ured to enable them to work more efficiently and Broadcast Beat Magazine • • 45