Bring media into the editing application

Most broadcasters standardize on certain capture formats and mezzanine codecs for post-production, which provides predictability and allows them to optimize for specific formats. In the real world, though, anything is possible and media may be delivered in any format. We have seen landmark productions request 25 fps and receive 29.97 fps. We’ve seen 8 K rushes delivered for an HD production, and overshooting your ratio by up to 40% - resulting in a mountain of media that needs sorting, transcoding, and prepping for an edit. The Adobe applications and third-party integrations can automate and streamline the ingest process, allowing broadcasters to manage their media efficiently.

Too many formats

Premiere’s ability to edit any camera format natively is ideal for news and fast turnaround media. The open format timeline means that the technology gets out of the way of the editor, minimizing the time between filming and playout.

Other productions rely heavily on batch transcoding of rushes to help keep an edit running optimally for an editor. The transcodes help optimize storage and edit performance when working with formats that have larger frame sizes and color spaces.

Doing this transcode in your NLE can be time consuming and repetitive, especially when handling CPU intensive formats, such as RED RAW or ARRI RAW. By using Adobe Media Encoder’s integration with render farm managers, broadcasters can spin up render farms either on-premise or in the cloud, getting the media ‘Edit-Ready’ faster, with less work, and less disruption to your creative team.

Adobe Media Encoder integration with Premiere allows the editor to see the transcode progress and be notified when the media is ready. With this workflow, media can then be dragged and dropped into bins or directly onto the timeline allowing the editor to start 50% faster than if they have to wait for the first transcodes before they can start working.

Too much media

75% of the data that moves around the world each day is video. For broadcasters, this giant media lifecycle begins with an ingest operator who, names, tags, and organizes the material. Good organization adds tremendous value to media for content creators.

Enterprise and boutique post houses already save time, reduce risk, and streamline the edit pipeline by using standardized naming conventions and folder structures for media. AI and automation can dramatically accelerate this time.

Integrating cognitive services can expedite the sorting and tagging process using parameters such as brand recognition, facial recognition, onscreen text, speech-to-text analysis, shot size, shot type. In fact, cognitive services can be trained to recognize almost anything as long as the algorithm has enough data to learn from. In the foreseeable future, a well-trained AI system could sort every shot, based on clapper board info, or by presenter, or by recognizing the location.

The media and the metadata can be presented in a Premiere panel, allowing users to sort, search, and retrieve clips and subclips directly from Premiere. Integrating this metadata with Adobe Smart Bins gives editors access to media that might not have been deemed important by an ingest operator. Or it allows them to reorganise media.

Deploying tools to automate project set-up with cognitive services ensures that the only thing the creative needs to concentrate on is being creative.