Ignition Productions was awarded the contract to cover the 2017 Dakar Rally for Red Bull TV—a daily behind-the-scenes show of the world's toughest Motorsport event. They had to shoot over 13 days of competition across three countries, in some of the harshest conditions imaginable, with temperatures ranging from 122°F to near freezing, sometimes in altitudes over 3500m, an extreme feat for even the most adventurous crews.
After months of research and evaluating products, TCU decided on the EVO 16 Bay Shared Storage Server. “EVO and its ShareBrowser software allows us to log our footage and add metadata, and it’s all searchable,” says Salters. Each EVO system includes unlimited licenses of ShareBrowser, an intuitive asset management software that lets search, tag, index, and preview media across all of their storage — something that was vital for the TCU team.
Launched in 2004, Hammerhead’s initial purpose was to give Dale Earnhardt Jr., NASCAR’s Most Popular Driver every year since 2003, more creative control over his personal brand. But just as Junior doesn’t just “race cars,” Hammerhead Entertainment doesn’t just “film endorsements.” The studio is creating branded content for a variety of clients — from the National Guard to Nickelodeon and PepsiCo to Penske.
Church by the Glades (CBG) welcomes upwards of 9,000 people to their weekend worship gatherings. Combined with their live, online experiences and television broadcast initiatives, CBG has an enormous reach to an extraordinarily diverse audience. "It's an investment. The amount of margin EVO created for us and the way it's made us efficient is just unreal."
Collaboration is a necessity for creative teams — projects require contributions from many people and disciplines. You have your assistant editors, VFX artists, animators, audio post-team, and colorists. Until now, the norm has been to have everyone take their turn with project files — or use project locking features with EVO. But now, everyone can work on the same project, even across multiple Adobe applications. Adobe CC Enterprise and Teams subscribers with Premiere Pro CC 2017 can now natively share, manage, and collaborate within a single team project file from anywhere in the world — a huge step forward for collaborative post production workflows with Premiere.
MasterClass is on a mission to give anyone the ability to gain the wisdom and knowledge of the world’s best creators. Since launching in 2015, thousands of students have already learned filmmaking, screenwriting, singing, acting—even tennis—from a star-studded cast of instructors. The classroom experience is stunning with luxuriously high production value, carefully crafted curricula, and intuitive website dazzle, but it’s the intimate connection with the instructor that stands out when the instructor looks you square in the eye to share the personal experiences and expert tips that helped make them who they are. Aaron Sorkin teaches screenwriting; Christina Aguilera teaches singing; Werner Herzog teaches filmmaking—to name a few. As MasterClass says, “Our instructors are the best in the world.”
Georgetown University is a prestigious institution located in the heart of Washington, D.C. Their list of alumni features many high-ranking political officials, ranging from U.S. Supreme Court judges to former Presidents, and other world leaders. So it’s no surprise that Georgetown students are some of the most politically active in the country. Many of them are highly driven to make a difference in the world, and Georgetown pushes them to do so. The history at Georgetown University is rich and there are many stories to tell — inside the Office of Strategic Communications, that’s their mission.
We’ve created a deeper integration with Premiere Pro that can be used to quickly export media and ShareBrowser metadata directly into the NLE. A screenshot of the Export to Premiere feature after a ShareBrowser search This year at IBC, we’re previewing a new feature in our upcoming ShareBrowser version 4.4 release that makes editors more organized. A lot of EVO users have been looking for a way to bring the tags and comments they’ve added to media in ShareBrowser directly into Premiere so they can reference notes and shot descriptions. With Export to Premiere, they can. Now you can use ShareBrowser to preview footage, apply tags to entire folders of media, and add comments that describe individual shots. We’ve designed this feature so editors can search for footage that has been ingested and logged with ShareBrowser metadata, and with only a few clicks, import all of their selected media along with the metadata associated with it. We’re building upon the foundation of our existing Adobe Premiere workflow to extend the usefulness of ShareBrowser even deeper into the editing workflow.
With their new EVO in place, the editors, designers, and producers at Creative Liquid can now work directly from a centralized location with access to all of their digital assets. They can collaborate on projects more efficiently, and they've taken back hundreds of hours of time that used to be spent waiting for files to transfer, shuttling drives back and forth from edit bays, and working around lengthy processes.
Can your system play x number of streams of my favorite codec? When you’re searching for a new shared storage system it’s common to compare a system’s published stream counts against those from different manufacturers, but there’s much more behind these numbers than meets the eye. The purpose of this article is to explain how stream counts can be generated, and highlight some of the less obvious things that can affect a shared storage system’s ability to do (or not do!) a certain number of streams of video playback. We think it’s important when making comparisons to understand how stream counts are generated, and to know what other factors can affect streaming performance and playback. We will also explain some of the ways we generate our own video stream counts and discuss why we get them that way. Part 1 (This is a two-part article. Part 2 explores the stream count topic more deeply and can be found here.) Getting stream counts There are several ways to estimate stream counts, and it won’t always be clear to see how a system’s stream counts were measured just by looking at “the chart,” so trying to use these metrics to compare one system to another can be kind of tricky at best, and misleading at worst. The process a storage manufacturer must go through to determine a system’s stream count is challenging to do accurately and repeatably; it requires testing in a methodical way, with real applications and a vast array of different kinds of hardware and software.