Metadata is one of the most useful tools we have, if we have the tools to use it! Aside from the obvious problems when no metadata is gathered during the shoot, or insufficient metadata is gathered, other issues arise because there are not always tools in the production chain that use the metadata that has been gathered!
A recent student film was used as a template by the Entertainment Technology Center at USC with the purpose of realizing the long-hoped for promise of production metadata, with some fairly ambitious goals.
The results are interesting and important, particularly considering that this is what I would categorize as Technical metadata, rather than Content metadata.
It’s hard to imaging but between them Amazon and Netflix plan on spending $8 billion on original content in 2016.
Amazon is expected to spend $2 billion, subsidized by Prime subscribers
Netflix’s subscribers will finance $6 billion in original programming.
Combined that would be 60 movies with a $100 million budget each. (Typically 400-500 movies are released by studios every year.)
Or 3000 ‘hour’ television episodes assuming a $2 million an episode budget. (Some would be higher, some lower). At 23 episodes a season, that’s one season for 130 different shows.
Although my focus is very much on metadata for production, and in particular Content Metadata, there’s a whole other area of metadata for distribution, built around the EIDR ID and fleshed out largely by Rovi. But there’s another area where metadata will likely have to apply: distribution deliverables.
We were discussing metadata in Final Cut Pro X after dinner last night, as one does, and Greg challenged me to think about the difference between Roles and Keywords (Ranges).
I’d spent time thinking about how best to translate metadata from Lumberjack into FCP X before we gained organizational folders for Keyword Collections in an Event, and was mildly surprised we didn’t have anything we thought would map well to Roles.
And that was the last time I thought about it until last night. It took a minute or two, but then it hit me, and it was totally obvious why there was no place for Roles in a “logging and pre-editing” tool.
Keyword Ranges (and Collections) are for organizing Clips.
Roles are for organizing a Project (timeline), and I guess for exporting information to Producer’s Best Friend where we make good use of Role information.
We’re all aware that technology changes the workplace. Jobs disappear; sometimes to be replaced by other jobs that didn’t exist before. During the industrial revolution we were replacing manual labor with machines. The coming revolution is for white collar “knowledge” jobs. How soon will yours be among them?
Rick Young has worked in television and video production since the late 1980’s. He bought his first DV camera in 1997 and since then, has established himself as a single-operator Producer/Director with a passion for affordable filmmaking. Rick is the editor for Movie Machine, a website devoted to the art and technology of digital filmmaking. He is the author of numerous books including The Easy Guide to Final Cut Pro X (Focal Press) and more.
You can find more about Rick at his Movie Machine site.
In this episode I get to spend a lot of time talking about the background the Lumberjack System, in the context of the very unsexy topic of workflow, particularly automating the workflow. I share many of the background decisions related to Lumberjack System – our logging and pre-editing system for Final Cut Pro X – including why it’s limited to FCP X.
Other topics include automation; Digital Heaven’s announcement of SpeedScriber; how Lumberjack has developed based on user, and use, feedback; the post NAB development of noteLogger; Prelude LIveLogger and the Premiere Pro ecosystem and NLE market shares; how development resources are allocated.
This certainly isn’t the first time Apple have filed for “Works with” Trademarks, and that’s what makes it interesting. Previously these type of trademarks have been for Apple Ecosystems, like iPhone, iOS, iPad, CarPlay, AirPrint, et al.
While I have no idea what it might mean – developers have no clues yet – it is interesting that iMovie and Final Cut Pro X are being considered as part of a larger ecosystem. For those who don’t know, these days iMovie is a version of Final Cut Pro X with a simplified interface.
Terence Curren and I recorded our thoughts on NAB 2016. Topics covered include general impressions of NAB 2016, and why Terry did not attend this year; Blackmagic Design Resolve; Avid’s business; market fragmentation; HDR and expanded color gamut; Studio Daily’s Top 50 influencers (including Philip); Zcam; Lytro cam; VR; innovation; Apple watch and NDA’d Final Cut Pro X preview.
Our latest lunch with Oliver Peters was recorded during NAB 2016 in Las Vegas. Oliver Peters is an independent video/film editor, colorist, post production supervisor and consultant. He is also a contributing editor/writer for Videography, DV and TV Technology magazines. he’s worked in the radio, television and film industries since 1970. Over the years, this has included a variety of hands-on production and post production positions, as well as various facility management roles. Along the way, I have earned numerous awards, including local, regional and national Addy, Telly and Monitor Awards. His full bio can be found on his blog.