Avid will showcase how the company's solutions can do almost everything through the cloud while still maintaining openness.
Avid will be demonstrating how all its Maestro graphics systems can access MediaCentral content through the cloud at NAB 2019.
One of the biggest announcements from Avid for the NAB Show 2019 is that MediaCentral | Cloud UX is now baked into all the Maestro graphics products.
Ray Thompson, Avid's director of broadcast media solutions product marketing said, “That includes Maestro | Designer which people use to create the actual 2D and 3D content for news, sports, weather and live entertainment. Maestro | Designer then feeds into all our other products which include our Augmented Reality offering, our Virtual Set offering, and PowerWall.”
Through a plug-in, all of those tools can access content from within the centralized and indexed repository in MediaCentral.
Designer UI runs on Windows in conjunction with Maestro | RenderEngine
“So now, if I am working within Designer I can do searches within MediaCentral’s video content and incorporate the results in any modelling I am creating,” Thompson said. “Or if I am in the Maestro | PowerWall interface, I can drag and drop whatever image content may be relevant to what the talent is discussing on set.”
PowerWall can present rich media across multiple high-rez studio displays
This access to MediaCentral | Cloud UX content also extends to the Maestro | Live real time sports production system that creates data-driven virtual graphics with the use of their patented image-based camera tracking module.
Thompson said this can include output resolutions from UHD up to16K.
“And then, sitting on the far end of the content delivery chain, Maestro | News can draw upon MediaCentral | Cloud UX’s structured storage to create templates for anything from tickers to lower third graphics,” Thompson described. “Of course, any of those systems can also stand on their own, or interface with third party systems.”
With access to MediaCentral content, Live’s graphic can be meaningful as well as captivating
Part of the beauty is that, because this all happens in the cloud, users can control over each of those systems from a Web browser.
It’s all an outgrowth of Avid having acquired Orad Hi-Tec systems back in June, 2015, and its sophisticated 3D graphics, video servers and related asset management technology.
News is a universal controller for video and graphics with Maestro | Designer built in.
“We think this latest move will be a major differentiator for Avid,” Thompson said. “Whether you are a journalist, editor, graphics designer or producer, everyone working on all these different products will benefit from these new efficiencies. As much as you can pull content from MediaCentral via the cloud, you can also push content. So for example, a journalist in the field can send their story from a browser back to the studio while also selecting the graphics needed to accompany it.”
There is even a plug-in for Media Composer for editing in the field. And to show their broad mindedness, Avid has also created one for Adobe Premiere CC.
“It may not give you all the Media Composer editing functionality,” Thompson clarified, “but the journalist in the field can prepare a cuts-only version of a story, add material from social media, add audio tracks, and now insert graphics from MediaCentral, and then let the craft editor back in the studio polish it up.”
How far away are we from the day when you’ll only head back to the studio to get a fresh cup of coffee?
You might also like...
“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”
Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a s…
Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise…
For a long time, selecting camera gear has been fairly easy. For twenty years, digital cinema cameras have never quite had everything we wanted, and the choice often boiled down to comparing the compromises. That’ll always be true to a…
It’s perhaps a little unfair to blame modern visual effects people for the fact that audiences are becoming a little jaded about green screen. If we’re to conclude that there’s some sort of quality problem with VFX, we’d …