Episode 26: Is cloud editing the future of editing?

Is the cloud the future of editing: with a facility cloud or a remote cloud? How will the tape shortage change delivery into the cloud? How does cloud editing work? Will the cloud be suitable for archive? Will the cloud lead to outsourcing?

(Recorded before Apple’s NAB Final Cut Pro X preview was announced to be at the Supermeet.)

Many thanks to Isai Espinoza for editing the show again and making us sound smart.

8 thoughts on “Episode 26: Is cloud editing the future of editing?

  1. Recorded before NAB..
    Come on guys, I want a, after the dust settles, report of NAB and FCPX.
    This year was a very interesting year as more new disruptive technology then aver before was released, and the SR-Tape looking dead.. What about VTR use in general.

    There are 9.8 earthquakes on the tectonic plates of content production. There must be casualties. What are they looking like at the moment.


    1. They covered FCPX and NAB reaction and the SR crisis in episodes 25 and 23 respectively. For any more dust to settle on FCPX, we need to see it released.

  2. I can certainly imagine the benefits of of this scenario.

    I freelance for a bunch of companies in Toronto, while I live about an hours drive away in Hamilton. My clients love that I’m not on staff and they can just hire me on as needed.

    The problems in the current setup is the time I loose on the way there and back [about 3 hours per day], or the time it takes them to send me a drive by courier [or vice versa]. Also there’s the time lost to copying media and supplemental project files from one drive to another.

    The iChat sharing feature for FCP7 went some ways into making remote editing more functional. I have done full sit down edits with producers this way, and for me, this was worth the upgrade price alone.

    An interface here at home, that would allow me to connect and with a clients media and edit remotely, would certainly cut out a bunch of steps in the way I work.

    Advantages to the producer are that the material never leaves their offices, no transport costs, and always having access to the most up to date work locally.

    If all the editor is doing is assembly, then I could see this happening very soon, the challenge comes when the editor is “Finishing” as well as cutting. I’d say the barrier to adoption is only bandwidth.

    Ultimately the question is can I view/hear the material in high enough quality remotely to do CC, audio mixing, effects, etc.

    And of course, the other challenge is the nature of the cloud. If the internet goes down, work stops.

    Still, I’d be game to try it- it would put me one step closer to moving my business from Hamilton to Barbados!

  3. That’s exactly the point Marcus. The Avid technology which was demoed last year at NAB and Editors’ Lounge allows you to access the edit through a common web browser interface. You are editing with proxies served up by their server which are high enough quality that you can work with them.

    I was amazed at the response they were getting from doing this. And there were no hidden mirrors. When they demoed at Editors’ Lounge in Burbank, they were working off of Avid’s server in Massachusetts. And we don’t have the world’s fastest internet connection if you know what I mean.

    Once you have a lock, you can tell the server to assemble your show, then it will send you a high rez (your choice) version of the final. So you could do any color correction, etc locally.

  4. It’s a bit of a miss-match though, don’t you think? AVID has been, and on their present course will continue to be focusing on that high-high end of feature and broadcast– but isn’t that the same market that’s going to demand the MOST face-time with editors?

    I love working remotely, but on the low budget features I edit, I fight for sit-down time with the directors/producers. At a certain point, I’d say the last 10% of the fine tuning, is best handled in the same room.

    See a problem. Stop. Address. Move on.

    Still, it’s exciting, and it will be interesting to see if Apple has expanded at all on the iChat sharing feature in FCPx.

  5. I would be willing to bet that the bulk of Avid’s work is in the broadcast world. Think about this scenario, Olympics, packages need to be cut locally all over the world, currently means waiting for feeds, digitizing, etc. What if you could start editing an Olympics package from anywhere in the world as it was happening?

    Carry this through to news, sports, etc. I am guessing this is where Avid’s cloud editing will hit first.

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