![]() During those times, you’ve got multiple editors working on the same project. Sometimes their video team is going from concept to completed deliverable in 2-3 days. When you’ve got archival footage in the same project as new stuff with different frame rates, it can involve a lot of processing. Some cameras create video files that are significantly larger and are harder to process on the CPU, or taxing to their old network. Phelps describes how the team faces challenges matching colors, and juggling various codecs. This means that their editing team basically has to be ready for anything from the age of digital video. Now that unit houses archival footage and is still being used by editors as direct storage. ![]() ![]() At one point they were using an OWC Thunderbay for ingest. Because Harvest has a 30-year history, they constantly go back to old projects and older footage. In addition to creating new footage all the time, they also need access to legacy material. In addition, there’s the challenge of choosing the right specs for streaming, and aligning that with new and old footage. Sometimes they are producing material for TV at standard frame rates and sometimes they are trying to bring the worlds or cinema and broadcast together. They have a significant YouTube presence. ![]() The team targets a bunch of different platforms to reach their audience.
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