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Ain’t your grandpas TV Production studio any more, I suppose.
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Hey Mark.
It’s not only for the FCP crowd. Although LumaForge has specifically developed these high-performance servers because no other server at that time could cope with the heavy stress that the Library structure of FCP X puts on the server traffic, we now have as many clients who use Premiere Pro CC and Resolve as we have FCP X clients. And we work very closely with Apple, Adobe and BlackMagic. As an example: we are currently the only company that runs Resolve collaboration straight off our systems without needing an external server for the PostgreSQL database.
– Ronny
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[Mark Raudonis] “but, come on, AVID has been doing this since the 90’s!”
Certainly Avid has been doing shared storage and in fact, more or less invented the way modern post is done using shared storage. However, Avid storage has historically been used in long-form editing and in newsrooms. The first group typically works with proxies and the second group with low-bandwidth media.
Today, many of the shops that are using these newer systems are also tending to work with more taxing files, like native 4K media. I know Avid Nexis is pretty solid, but honestly, how many Avid shops are pushing 4K ProResHQ (and higher) through a collaborative workflow? Usually it’s more offline-online and in many cases that “online” with full-res media is pushed off to low RAIDs. So the landscape has changed a little.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “These young producers are creating content nearly exclusively for a relatively newly viable non-broadcast market. The gold standard for them is clearly NOT AC Neilson ratings, but “likes” and subscribes — and so that’s where they concentrate. They know the new game. And it’s NOT the same as the old game.”
While that is true in this case, it’s not universally true for today’s video producers. Many of those are doing fairly standard work fare for clients – as they always have – and still need to deal with the “why doesn’t it look right on my ___” question. That’s where proper video disciplines still come in handy.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “These young producers are creating content nearly exclusively for a relatively newly viable non-broadcast market. The gold standard for them is clearly NOT AC Neilson ratings, but “likes” and subscribes — and so that’s where they concentrate. They know the new game. And it’s NOT the same as the old game.”
I beneath the surface I think the new game is very much like the old game. For example, ad revenue pays the bills for YouTubers with channel subscriptions, likes, and views being peddled as no-middle-man-needed Neilsen replacement. But channel subscriptions, likes and views are easily (and commonly) artificially inflated by click farms, and there’s not any objective, agreed upon guidelines for what constitutes a ‘view’ so online video platforms are all free to cook their numbers however they want. For example, if you scroll past a video in your social media feed or on a website and it auto-plays for a quarter second that could count as a view.
I feel like once a year in tech media there is a ‘bombshell’ article about how the self-reported numbers from video platforms are wildly inflated (shocker). Advertisers certainly don’t want to buy ad time based on fake and/or unverifiable traffic, which is one reason why ad rates for the web are so low. So what’s the solution? Maybe an independent third party that can apply a standardized set of metrics across all video platforms and make those numbers publicly available? Basically Neilsen TV ratings but for the Internet.
This, of course, doesn’t even get into things like sponsorships, merch sales, affiliate links, Patreon, etc., As much as things can feel new and crazy and wild in the beginning, once the dust starts to settle the new boss starts to look an awful lot like the old boss.
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I’d like to correct a few statements:
“Although LumaForge has specifically developed these high-performance servers because no other server at that time could cope with the heavy stress that the Library structure of FCP X puts on the server traffic”
This is incorrect. Studio Network Solutions has been making shared storage solutions for over 20 years for the M&E industry, and our EVO shared storage systems have supported shared Final Cut Pro X workflows since shortly after the release of FCPX.
“we are currently the only company that runs Resolve collaboration straight off our systems without needing an external server for the PostgreSQL database.”
Also incorrect. EVO has natively hosted the Resolve Studio database on our shared storage systems since the release of Resolve Studio 15, enabling Resolve Studio collaboration.
These features (and many more) are available with all of our EVO shared storage solutions.
https://www.studionetworksolutions.com/products/
Loring Weinkauf
Studio Network Solutions -
[Oliver Peters] “I know Avid Nexis is pretty solid, but honestly, how many Avid shops are pushing 4K ProResHQ (and higher) through a collaborative workflow? Usually it’s more offline-online and in many cases that “online” with full-res media is pushed off to low RAIDs. So the landscape has changed a little.
– Oliver”
I bet none of them are pushing 4k through those pipes. Ive never worked at one place that use media natively especially 4k and Im really not sure why anyone would want to edit natively in 4k vs a Proxy/ Offline workflow. If time is an issue – you build that in upfront, and I thi kwhatever time is “wasted” making useable files – you gain back in the edit because the files are buttery.
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[Neil Goodman] “Im really not sure why anyone would want to edit natively in 4k vs a Proxy/ Offline workflow.”
In our case (the shop that I freelance most at), we have very short turnarounds on most of the main client’s marketing videos. Those projects also tend to be revisited/revised a lot, so online resolution material has to be available on the network for a long time (going on 3 years in some cases). Not to mention that the same source material often touches dozens of different projects over a few years, so a proxy workflow is very impractical. Those projects finish directly out of Premiere.
The same client also has us producing/posting a streaming travel series. That goes through a proxy workflow with a Resolve roundtrip and Premiere finish. There the schedule permits the time and the quantity of raw media is much larger per project (episode). However, even there the 4K original lives on the network and is accessible to everyone, because other content is also cut from this media.
– Oliver
Oliver Peters – oliverpeters.com
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