Post Production
the Orad Maestro Graphics Suite, a real-time
Minding
graphics system complete with a turnkey HD/SD
3D character generator. With Orad’s nonlinear
editing system (NLE) plugin any graphics effect
or template developed in Maestro can be used
from within the familiar NLE environment. In
other words, the Orad solution handles the
entire process on the NLE workstation rather
the gap
than relying on shared, remote, frame-by-frame
rendering that is later dropped into the system
as a clip. As a fully integrated solution that
requires no additional hardware components,
the Orad plugin streamlines workflow while at
the same time making the user’s life easier.
Using the Orad plugin, a station will experience
significant gains in branding and identification
in the minds of viewers because the station
OFIR BENOVICI, vice president of marketing for Orad, reports. retains the exact same graphic elements,
including animations, whether the display is in
raditional post-production systems sees edited stories. A broadcaster using two a story broadcast live or a story produced and
T
such as nonlinear editors face separate and independent graphics systems for edited for later delivery.
insurmountable barriers in the two kinds of productions likely creates The Orad plugin also improves workflow
communicating with the advanced separate and independent looks for the two efficiency because the broadcaster no longer
3D real-time graphics components of live kinds of productions. And if the two look needs to create and manage two separate
production systems, creating a ‘gap’ in different, the viewer may experience a graphics libraries, one for real-time and one for
workflow. As a result, broadcasters double up confusing and disjointed duality. In the worst post-production. Instead, a single graphics
their efforts - creating graphics components for case, this duality undermines the broadcaster’s library can be shared enterprise-wide. Also in
live (real-time) production that are separate and attempt to convey to the viewer a particular, terms of workflow, editors and producers are
independent from what they use in stories branded look and identity that the viewer will able to create programming quickly and easily -
produced for later airing or distribution. The consistently associate with the broadcaster. with not much more than a mouseclick, in fact
damaging effect on efficiency is obvious, but Mindful of the ramifications of the barriers - a particular advantage when the type of
there are less obvious ramifications as well. between live and post-production systems, Orad broadcast is time sensitive, such as breaking
Currently, television stations’ news Hi-Tec Systems has bridged the real-time, post- news or sports.
productions usually are composed of live shows production gap with the creation of a plugin In the typical workflow supported by the
coming from the studio, or live shots of that enables editors working on the most Orad NLE plugin, graphics templates are created
journalists at the scene, with the graphics popular NLE systems to easily drop-in graphic using 3Designer, Orad’s authoring tool while
displayed in real time. In between, the viewer effects and templates originally developed on data templates or pages for the graphics
template are created using Page Editor, which is
part of the Maestro Graphics Suite. Both
graphics and data templates are published to a
database that is accessible to specified users
across the network. The templates can be
accessed either from Maestro, from a journalist’s
workstation, from newsroom systems, from
automation systems, or from NLE systems. To
re-emphasise, the same templates can be used
throughout the production workflow; there is
no need to create a different type of template or
to alter the template in any way to
accommodate NLE.
The actual integration of the two platforms
takes place in two stages, an editing stage and a
consolidation stage. In the editing stage, the
user selects an in and out point (or an in point
and duration) for the desired graphics effect,
selects the graphics template from the Maestro
database, and fills in the desired data, which
may include text, textures, or other parameters
in the template. The user can then preview his
72 IBE SEPTEMBER/OCTOBER 2008
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