rkflows

available in many formats. “Hd
is rapidly moving into the main-
stream market as an accepted
standard, with an increase
in consumer demand, putting
more pressure on broadcasters
and improved efficiency. It’s part of Adobe’s strategy and content owners to convert
According to Michael Cole- to be all over this,” he said. large amounts of video con-
man, AfterEffects product man- “Another (complementary) tent currently held in multiple
ager at Adobe (Booth SL3320), trend is that file-based cam- legacy formats to Hd,” said
the advancement of tapeless eras are making their way into Bruce devlin, CTO, AmberFin
workflows will continue its in- film and cinema production. It (Booth SU4323).
evitable march for some time to is exciting to see support for “digital workflow streamlines
come. “I don’t see anything but file-based cameras going from the up-conversion process,
more in the future, including consumer-level cameras up to while new standards, such as
applications for ingesting and the big boys,” he added. MxF, provide increased interop-
support for new file formats. Content must be made erability and flexibility. Solu-
tions, such as AmberFin iCR, are

ast realities.

OR, BROADCAST ENGINEERING WORLD EDITION

driving this transition, making way for more-efficient operations, increased reliability and significantly lower costs, while maintaining superior quality,” he said.

Hd data rates are still
demanding for IT equipment, so
broadcast media files continue
to require a hybrid broadcast/
IT design for real-time, live
broadcasting. However, as IT
equipment becomes ever more
powerful, the hybrid will move
away from the special broad-
cast designs towards commod-
ity IT, and with that, costs fall.
Chris Simons of Harris
(Booth N2502) sees file-based
workflows as becoming seam-
lessly integrated with digital
asset management. “(Content
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Out-of-Home Media Mobile TV Show Highlights Content Production & Post Broadcast IPTV