Overcast Industry Insights: The Evolution of Media Creation

Ever-increasing demand for content. Ineffective legacy technology. Remote
collaboration challenges. Difficulty scaling up. These are just some of the
big issues facing the media industry today.

MovieLabs
— a technology joint venture of the major Hollywood studios, including
Walt Disney Studios,
Universal Pictures,
Warner Bros,
Paramount Pictures
and
Sony Pictures
— says that our industry is at a crossroads. There is a time-critical need
for executives to become more aware of supporting the future of media
creation and to invest in it. So, they have written an
Urgent Memo to the C-Suite: Investing In Production Technology and
Cloud Centricity Is No Longer An Option — It is Table Stakes
.

MovieLabs has already developed a roadmap to creating the next-generation
ecosystem for media creation. Its 2030 Vision describes technological
advances that will enable seismic changes in media workflows and proposes
ten foundational principles as keys to that future. MovieLabs published case
studies of technology solutions that fulfil one or more of those principles
from
AWS,
Skywalker Sound, Walt Disney Studios, Sony, PFT, Overcast and
ProductionPro. Overcast provides Full Stack Video Management that radically improves
cloud production and post-production workflows through automation and
simplification.

This article delves into the trends and strategic imperatives outlined in
MovieLabs’ Urgent Memo to the C Suite and reveals how the Cloud MAM
solution that Overcast designed for Britain’s
Royal Opera House
fulfills those strategic imperatives.

Firstly, let’s take a look at the five key trends that MovieLabs identifies
as having a significant impact on media creation and that underpin the need
for commitment, support and investment in cloud-centric production
technologies and secure, interoperable workflows.

Trend 1: There is a growing urgency for scaled high-quality global
content production
.

Traditionally, Hollywood content was distributed in overseas territories.
However, streamers have tapped into a growing appetite amongst viewers for
local language and local cultural content. Such content is created by local
production companies, but the streamers’ workflows and quality requirements
are foreign to many of these companies, which creates problems.

Trend 2: As release windows are evolving, distribution models are no
longer one size fits all.

The success of a movie used to hinge on its opening weekend box office.
However, the pandemic ushered in a new era of hybrid release strategies,
such as ‘day-and-date’ (where a film is simultaneously released in cinemas
and on streaming platforms), shorter exclusive theatrical runs, and
direct-to-consumer distribution. These have a major impact on production,
post production and delivery supply chains.

Trend 3: Productions are becoming more complex — what we did in the past
won’t work in the future.

With a wealth of cameras, creative tools and new production processes (such
as virtual production), film/TV/video production is becoming more complex.
We’re in a new era of “snowflake workflows”, whereby technological and
creative innovations make each workflow unique…like the individual shape of
a snowflake. While this is fantastic for content creators, the increasing
complexity of workflows coupled with the challenges of global distribution
and teams working remotely means that current practices just won’t and can’t
scale.

Trend 4: Connected, creative remote collaboration has become the new normal,
and it’s here to stay.

The pandemic was a baptism of fire for film, TV and video teams who were
accustomed to collaborating in purpose-built spaces but were suddenly thrust
into a situation where they had to work from home and collaborate virtually.
But, despite the initial shockwaves, it has turned out to be a positive
change. Creatives have more flexibility in where to work and this production
style will drive efficiency. Cloud-enabled collaboration tools will be the
key to scaling global productions.

Trend 5: Technology is evolving extremely fast, and the vendor landscape is
being disrupted.

An increasingly-connected production ecosystem is migrating to the cloud
while traditional methods of post production are consolidating and
contracting. Virtual production technologies and the democratization of
tools have created new “pop up” services, thus disrupting the vendor
landscape. Cheaper cloud-based business models are enabling new start ups to
avoid the enormous capital expenditure required in years gone by and
facilitates the ‘rental’ of tools, tech and talent as needed.

How is media creation evolving?

How is media creation evolving?

The future of content creation is full of exciting opportunities! But,
according to MovieLabs’ Urgent Memo to the C-Suite:

“We must design, create and implement a future-facing technical
pipeline to address the real challenges and opportunities to produce
content at quality, scale and across production locations and global
markets.”

So, back to the MovieLabs 2030 Vision. As we move towards realizing it,
there are three strategic imperatives that underpin the operational,
financial and strategic planning at all media organizations. Let’s unpack
them and examine how Overcast’s Cloud MAM solution for the Royal Opera House
(ROH) fulfill those imperatives.

1. Planning a multi-cloud strategy

Moving to the cloud is the foundation of achieving media creation at scale.
Benefits include almost unlimited storage and computer resources, a
pay-as-you-go business model, and a creative collaboration environment that
eliminates the unnecessary duplication of media assets. This “single source
of truth” principle is central to Overcast’s media management platform.

But MovieLabs deems that cloud is not enough anymore. It’s time to move to
‘multi-cloud’ (multiple vendors and a vast number of interconnected tools
and workflows). This is essential to complex content creation at scale and
the ability to pivot creative and distribution strategies and choices.

One of the foundational principles of MovieLabs’ 2030 Vision states that
assets go to the cloud and stay there, with applications coming to the
media. Today’s workflows span multiple facilities and move assets between
organizations and public/private clouds. To benefit from scalability, speed
and flexibility in a multi-cloud world, studios must collaborate with
industry stakeholders — including cloud providers — to create open
interfaces that connect silos.

Overcast enabled ROH to adopt a cloud-first strategy, which has delivered
more efficient ways of working: reviewing live rehearsals in real-time
remotely; automatically time-coding editorial reviews and approvals for ease
of decision-making; providing secure role-based permissions for freelancers
and ad-hoc users; and the integration or phased shuttering of legacy
on-premise technology solutions.

Through Overcast’s Cloud MAM solution, ROH created a single repository for
video content across all of its constituencies (the Royal Opera House, The
Royal Ballet and the ROH Orchestra). All of the ROH editors and producers
work from that single repository and can stream content to both internal and
external audiences by publishing links to it. A major advantage is that the
system is easy to use for non-technical collaborators (dancers, singers,
clients, sponsors).

2. Adopting a new approach to security

Erecting a fence and installing CCTV at your premises is a logical approach
to security…except if all of your content is hosted in the cloud by third
parties. So, how do we protect cloud-native workflows? We need a new
security mindset.

Overcast’s Cloud MAM enables ROH to give authorized users searchable access
to their library of assets and the ability to share retrieved content by
emailing links to other authorized users, such as dance notation experts who
work all over the world. The ability to share assets securely has enabled
new remote workflows that save on in-person or travel costs.

3. Enabling flexible workflows with increased automation and
interoperability

Time is of the essence when turning around creative projects. But precious
time can be wasted if your teams’ remote collaboration isn’t optimal.
Production workflows must become more flexible, extensible and easier to
assemble.

Automating simple tasks saves production oodles of time. Overcast has
integrated AWS AI tools such as Transcribe, Translate, and Recognition for
metadata tagging and subsequent search and retrieval. In its Cloud MAM for
ROH, these tools automate metadata tagging for bulk ingest, including
tagging of musical scores, leading players, and video attributes, freeing up
editors from these mundane tasks and allowing them instead to weave their
creative magic into the edit.

Future-proofing media management

Overcast believes that managing video files should be as easy as managing a
Word document. Its cloud native Full Stack Video Management is simple to
use, secure, and empowers teams to make, share and publish more content,
faster. Overcast echoes MovieLab’s call for commitment, support and
investment by C-Suite executives and also its vision of a studio and
industry ecosystem that will more readily enable future content forms and
business opportunities.

Get a free demo

Whatever challenges you are having with managing your media projects,
especially video, Overcast can improve your workflow and save you time and
money. We would be delighted to give you a free demo of our platform.
Click here to request a demo.

The Demand for Remote-Enabling Video Technology

The democratisation of video


Practically everyone owns a smartphone these days; therefore, we all carry a mini computer with us every day. But, more than that, phones can record video clips and you can edit that footage through apps; so, effectively, we are all walking around with full video production capabilities in our pockets.

Armed with this portable video technology, it must be a piece of cake to make professional-looking videos, right? 

Wrong!

Not as easy as “point and shoot”

Over the past few years, the popularity of video has exploded as the preferred communication channel for enterprises — both internally with employees and stakeholders, and externally with customers. 

But, despite everyone having free access to video production tools through their smartphone, content creation remains a challenge for enterprises.


Original content is king

The first question enterprises must ask themselves is, “What do viewers want to watch?” 

The streaming wars provide a valuable insight into this. When consumers sit down in front of their TV in the evening and flick on Netflix or Apple TV or Disney Plus or Prime Video or Hulu or any other streamer, the choice of programming is almost overwhelming! 

Silverwood Partners’ Media Technology: Strategic Industry Analysis 2022 shows that original content is a hit with viewers! When an original show is released by a streamer, the number of subscribers goes up significantly.

Netflix Sign Ups video technology
Disney Sign Ups video technology

This exponential demand for original content is fuelling investment in media technology, which will also benefit enterprises who are struggling to create their own content. 

The move to remote working enforced by the COVID-19 pandemic generated difficulties for teams who had, up to that point, collaborated on video in the same physical space. Suddenly, they discovered that finding particular clips, accessing shared footage, exchanging feedback, getting approvals, and delivering video in different formats was slow, clunky and expensive.

The thirst among consumers for immersive, engaging, superior-quality content is elevating the demand for innovative technologies that make video collaboration, creation and delivery easy. 

Such technologies will be digitally-native solutions, which OTT providers might be better positioned to support than traditional broadcasters. 

Macro trends OTT video technology

When COVID-19 necessitated people en masse to work from home, the remote-enabling technology that emerged was a “quick fix”. But now, as we exit the pandemic, the accelerating demand for optimised solutions is firmly paving the road to permanent remote-forward production workflows.

Get ahead of the game

Want to know more about remote-forward workflows? Get in contact and we would be delighted to show you our platform to enable you to easily leverage video to grow your business.

Content: The Localisation Challenge

In this world of streaming video, the demand and opportunity for content targeted at global markets is continuing to skyrocket. But the total money available in those markets is lagging behind. A key challenge is the versioning and localisation of that content.

What do these terms mean? Most of the content produced has to be versioned for the various platforms and services on which it will be distributed. Most of it will also be ‘localised’ — that is, prepared for consumption in another territory — this can include adding foreign language subtitles and soundtrack, and re-editing to comply with regulatory and cultural requirements. 

“The scale of the localisation process is immense. For every asset we create, we can have up to 16 different versions to cover all the regulatory requirements of our various markets. Now, across our consumer-facing international brands alone, we create thousands of hours of original content a year. Multiply that by up to the 16 versions; then multiply that by the number of languages, and then by the different audio dubbing and subtitling requirements. Add in the internal video editing that may be required to make the nuances of storytelling work in different territories: it quickly becomes millions of assets. And that’s before we get into promos and short form.”

— James Crossland, SVP International Operations, Warner Media.

So, what’s being done to address this immense challenge?

The Digital Production Partnership (DPP), a media industry business network, brought together twenty-two senior executives in a special roundtable event titled ‘The Localisation Challenge?’ at IBC 2019 in Amsterdam. The companies represented were: A+E Networks, Amazon Web Services, Apple, Deluxe, Disney, Eluvio, ITV, NHK Archives, PBS, Pixelogic, Prime Focus Technologies, SDI Media, SDVI, SES Video, Sky, UKTV, Videomenthe, Vubiquity, WarnerMedia, Zoo Digital and ZDF Enterprises. 

The roundtable generated the following three key insights.

1. Maturity in internal business relationships 

There’s lots of content being delivered, but…oops!…it’s not compliant with delivery requirements. And…double oops!…it’s not suitable to be prepped for versioning and localisation. Is this because there are no clear standards for deliverables in the media industry? Well, partly, but it’s mostly because people don’t want to upset the apple cart among the creative and commercial teams. 

Solution: Companies need to incentivise and build more productive relationships between different parts of their business.

2. Building trust into what we receive

We’re naturally inclined do business with people we know, like and trust. But when a piece of content is passed from one content provider to another, the receiving company may find that it’s technically inferior to what was promised. This means that even well-established, high-quality media companies don’t trust each other.

Solution: Use a cloud-native central library and agreed specifications for assets.

3. All content should not be equal 

All content is, in effect, tiered at the point of commission. In the pre-streaming world of linear distribution, tiering was based on the schedule: ‘daytime’, ‘peak’, ‘post-watershed’, and so on.

In this new world of on-demand, tiering is more difficult to identify. But, in reality, budgets alone still create tiering. 

Solution: Media companies should reflect the reality that all content should not be equal in the way they manage the onward processing of content. Some content is simply more valuable and should be treated as such.

DPP Tech Leaders’ Briefing

The who’s who of the media industry will converge on London for the DPP Tech Leaders’ Briefing. Overcast CEO Philippe Brodeur will be there on 13th and 14th November and is be delighted to meet you and illustrate how your company could save time and money on more effective media asset management and internal collaboration.

Why Meet With Overcast?

A) Cloud Native

We get it. You want your applications to run more effectively together. You want this workflow to elevate the productivity of your team. So you sign up with a cloud provider and use it to run your existing applications. Problem solved, right? Not necessarily — like content, not all cloud solutions are created equally.  

So why is cloud-native important? Each part (applications, processes, etc) is packaged in its own container — this means your activities, actions and workflows are optimized for the cloud. And that ultimately means less cost and less time fussing about with legacy technologies.

(B) Managed Software as a Service

Managed SaaS is all about being able to create a tech stack. It allows you to integrate best-of-breed solutions, which ultimately allows you to manage your digital assets with maximum flexibility.  

SaaS, while it incurs a subscription charge, is significantly more cost-effective since you’ll save on hardware, licences, tech support, and scaling up.

(C) Tech-enabled services

On a cloud-native platform like Overcast, we segmented our application into microservices. This means they are significantly more agile and maintainable. Crucially, a tech-enabled service empowers you to redesign your workflows for speed and cost reduction. Oh — and it means you can pick and choose what you want so there’s no need to buy a whole tonne of software you would never use.

Contact Us

Please email Philippe on philippe@overcasthq.com if you’d like to pick his brains in London.

Does Size Matter?

“Video consumption grows 100%+ every year” — YouTube.

The global online video platform in media and entertainment market is projected to grow at an annual rate (CAGR) of 17.5% from 2018 to 2025 (— Allied Market Research). Businesses will ignore it at their peril.

In our last two blog posts, we explored search and collaboration, as well as management and video production. Once created, video needs a home to live in (storage) and a destination to go to (distribution). Today we are talking about one of the fundamental challenges — size of video files.

Size matters

How big is Big Video?

1 hour of 4k (cinema-resolution) video shot for a 30-second TV ad is equal to 300GB — this is more than can fit on the average computer! To put it in further perspective, 1 year of CCTV video for an average police department amounts to 1.5PB (which is approximately 80,000 Harry Potter movies in HD)! 

PB? What on earth is a PB? Well, a petabyte — or PB — is a crazy large chunk of data. You’re on first name terms with a gigabyte (GB), right? And you may have been introduced to the terabyte (TB). A TB is 1,024 times bigger than a GB. Sounds like a lot? Think about this: the Hubble Space Telescope generates about 10 terabytes of new data every year.

So, getting back to the question: what is a petabyte? A single PB is 1,024 TB — or more than 1 quadrillion bytes! That’s a heck of a lot of data. 

“1 PB is equivalent to over 4,000 digital photos per day over your entire life.” — Lifewire.

So if you’re generating a lot of video content, it’s easy to work out that you’re going to need a lot of storage space and the cloud might be your best option.

Cloud is the champion

Using a cloud-based platform provides more advantages than just storage. It facilitates you to share media across projects, groups or channels and to respond quickly to partners, distributors or clients.

No doubt you’ll be channeling a particular promotional campaign though your social profiles, website, email marketing software and you’ll want it to look amazing on mobile. So you need all of these to work off the same set of base assets for that campaign.

Getting your video out there

And then there’s outputting. How many versions of your video do you need? Disney has to create 234 versions of every film it produces to accommodate the aspect ratios of the various distribution channels (cinema, broadcast and streaming) and to supply versions in different languages for worldwide distribution.

Once you’ve decided on the number of versions you’d like to create, then there’s the quandary of formatting each one. How do you export your video file in formats optimised for YouTube, Vimeo, Facebook and all of the other different platforms without a degree in transcoding or bribing a highly-skilled technician? The secret is (shhh, don’t tell anyone): choose a platform that does all of this heavy lifting for you. And preferably one that automates it.

“81% of businesses say video increases sales.” — Optinmonster

Saving $$$

With the time saved on collaboration, reviews, approvals and outputting of your video assets — not to mention the cost savings on sending “urgent” DVDs/drives via FedEx or UPS — it’s a no-brainer to use a streamlined platform to manage your video projects. One login, one solution, one happy you!

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