Articles tagged with: Metadata

FCPX Grill podcast - Ep. 71 - featuring Philip Hodgetts: The King of Metadata

Monday, 11 August 2014

Episode 71 of Chris Fenwick's FCPX Grill podcast features an interview with Philip Hodgetts of Intelligent Assistance, an LA-based software company who make software for assistant editors and editors who have to do assistant editors' tasks.

fcpxGrill logo

After listening to this episode about logging, I thought it was well worth logging:

[5:20] Video literacy vs. traditional forms of literacy. Even if post production isn't your primary focus, you make need to make videos. Apple selling a million copies of Final Cut Pro X in a world where there are only 25,500 professional video and film editors in the USA.

[7:41] PH: People stay with software and workflows that aren't state of the art because they are proven and because they are preferred workflows of somebody that they trust.

[9:18] Philip came over to LA from Australia for four weeks in 2001 and returned in 2003.

[10:33] PH: Don't you think Final Cut Pro X reminds you of Media 100?

[11:45] CF: What is the significance of the change from QuickTime to AV Foundation?

[18:33] PH: AV Foundation only supports QuickTime movies with H.264 and ProRes Codecs - no third-party codecs.

[24:00] PH: All our applications are focussed on metadata

[24:43] PH: The six kinds of metadata: Source, Added, Derived, Inferred, Visible and Transform 

[28:38] CF: People are logging much less as they shoot than before

[29:15] PH: Marquis Broadcast Final Cut Pro X customer survey: only 2-3% of respondants do on-location logging

[31:05] PH: Lumberjack System helps you log on location by tapping check boxes on and off. The Lumber Yard application takes this logging information to generate a Final Cut Pro X library to organise footage by applying keywords, creating folders and marking favourites and also to create string-outs based on keywords - including lower thirds showing metadata-based interviewee names.

[34:17] PH: We use a very simple title, but you can select all the titles in the Timeline Index and drag a title of your choice to change the design of the lower thirds in one go.

[35:28] PH: Now you can log already captured footage using the simpler to use Lumberjack system

[38:16] PH: Most logging tools don't record time ranges, they store markers with fixed 2 second ranges before and after the marker.

[41:15] CF: A listener asked why we go on about all these things to make the assistant editors' lives easier: “I don't care, I'm an editor”

[42:45] PH: My whole focus is to take the drudge work away from editors and get the computer to do that

[44:00] PH: In the future editors will work remotely - the work will go to the lowest-price territory: Montana and Mumbai

[45:35] CF: Working from home, do you miss the cameraderie of working with other people?

[47:48] PH: Lumberjack features also support making videos at conferences - multiple iOS users can log a live event at the same time

[52:25] PH: I've stopped demoing Syn-N-Link after seeing how much better Sam Mestman and Michael Garber demo it

[53:25] PH on the genesis of Xto7

[55:30] CF: What is the difference between Intelligent Assistance and Lumberjack System?

[58:38] CF: I'm going to appear at the Final Cut Virtual User Group on Thursday August 14th

 

 

Apple's metadata propagation patent

Tuesday, 22 July 2014

Apple has been awarded a patent that says that metadata propagation rules can be included with video files. That means you could pass on a video file with metadata that would be available to an editor but not exported when the generate new content based on the files you sent them:

Some embodiments provide a method for processing metadata associated with digital video in a multi-state video computer readable medium. The method specifies a set of rules for propagating the metadata between different states in the video computer readable medium. It then propagates the metadata between the states based on the specified set of rules.

It also describes an example when the metadata in one set of video clips can be assigned to a related set of clips stored elsewhere. This would apply if an on-set assistant had added metadata to lo-res H.264 clips on an iPad and an editor wanted some of the metadata applied to the media from the professional cameras.

It also says that the metadata could also define which parts of the high-quality media should be captured later:

In some embodiments, the method recaptures digital video from a first storage, when at least a portion of the digital video is also stored in a second storage. The method retrieves the digital video from the first storage. It identifies a set of metadata that is stored for the digital video in the second storage, and then determines whether there is an associated set of rules for processing this set of metadata when the digital video is re-captured from the first storage. If so, the method then stores the set of metadata with the retrieved digital video in a third storage.

 

UK HD TV: Interlace not dead yet

Wednesday, 09 July 2014

From October 1 2014, nearly all UK broadcasters will only accept TV programmes as files - tapes will not be allowed. To help independent TV production companies prepare for 'File Delivery Day,' the UK Digital Production Partnership have agreed on standards for everyone to follow.

The Digital Production Partnership is "funded and led by the BBC, ITV and Channel 4 with representation from Sky, Channel 5, S4/C, UKTV and BT Sport to help producers and broadcasters maximise the potential of digital production."

As well as a guide for producers, there is a full technical specification for post production workflow as well as a minimum metadata set.

An important aspect of the technical standard is for those who like to use animated graphics, transitions, titles and credits scrollers: they must be rendered as interlaced. Even if all the video in a programme is 25 frames per second progressive…

moving graphics and effects […] must be generated and added as interlaced to prevent unacceptable judder.

rules

 

To see YouTube attempt to show the interlaced fields, use the settings control (the cog) to choose 1080p (HD) and then click the full screen button in the bottom-right corner of the player.

In Final Cut Pro X, make sure your projects are 1080i25 and to check that graphics and transitions are properly interlaced, use the 'Show Both Fields' option in the Viewer's pop-up menu.

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Show-both-fields-blog

The UK TV file format specification:

Each high definition programme must be delivered as a single MXF OP1a file which conforms to the AMWA specification AS-11 v1.1. The AS-11 file must use the ‘UK DPP shim specifications’ that describe exactly how the file must be constructed to meet DPP requirements

Final Cut Pro X users will have to turn to third parties to handle the video encoding and required metadata. Currently the only product that is available is Hamburg Media's AS-11 Suite

The rest of the specifications (including the standard allocation of 16 audio tracks), read the Digital Production Partnership Technical Delievery Standards document.

 

The demo video features footage from EditStock, a website that hosts rushes from short films you can use to practice the craft of editing, and my free Leaves title plugin for Final Cut Pro X.

 

 

The answer is ‘Metadata,’ now ask me the question

Thursday, 12 September 2013

As soon as I saw that OS X Mavericks apps would have 'tags', I guessed that many people would dismiss the feature as new name for Finder coloured labels. In practice, Apple is starting to introduce metadata to OS X users. The ability to associate a variety of things with the same content is currently being presented as a project management method. A good place to start.