In Broadcast - December 2015 - 52


52

www.inbroadcast.com | Vol: 5 - Issue 12 | December 2015

InReply

Forscene - Providing True
Collaborative Cloud Editing
Forbidden Business Development Director Jason Cowan gives InBroadcast an
insight into what cloud editing offers different sectors of the video industry,
and how Forscene fits into this market...
InBroadcast:
How
is
your
software
changing
to
meet
customer demands?
Jason Cowan: Forscene remains
the only platform that can offer a true
cloud editing solution - the ability to
create advanced video edits on almost
any device over a standard internet
connection.
The platform is used across
many different sectors - including
entertainment programming, digital
sports content, education and news -
and in both EMEA and North America,
so the challenge for us is deciding
which of these clients' development
projects to prioritise.
In 2015 our biggest growth was in
the sports market where Forscene's
subclipping and highlights editing tools
helped satisfy an increased appetite
for near-live content on social media
and online.
This emerging market constantly
looks to improve production value
and cut down on turnaround times so
we've focused development around
these areas and introduced:
*	 automatic graphic insertion as
part of publishing;
*	 a completely virtualised workflow
integrated with Microsoft Azure
to replace transcode and upload
hardware;
*	 and the ability to publish directly
to a wider range of social media
platforms.

Forscene offers a true cloud editing solution

At the beginning of this year
we identified two key product
developments that were vital to
Forscene's success in North America -
the enhancement of our close-caption
tool for digital content and support for
dual system audio. Our recent sale into
Leftfield Entertainment Group would
not have been possible without this
work.
Our biggest client base remains in
entertainment, factual and reality
programming and the latest Forscene
release includes a range
of new features that we've
developed in conjunction with Princess
Productions for use on Channel 4's The
Island with Bear Grylls including:
*	 the ability to import Avid AAF
files - and auto conform timelines
based on this data;
*	 support for up to 12 active video
tracks and 24 audio tracks on the
timeline and;
*	 the unique ability to concurrently
see all video tracks in a sequence
during playback - and to easily toggle
between this multidisplay grid view
and the usual top-down view of video
layers.
InB: Which territories are showing
particular activity?
JC: We've had some fantastic success
in North America in both the news and
entertainment sectors recently.
In October, Field59 signed two new

broadcasters onto their Forsceneintegrated news clipping service and,
last month, Leftfield Entertainment
deployed Forscene across its group of
production companies.
InB: Give some examples of your
services in action?
JC: Forscene's primary markets are
in the post-production of broadcast
entertainment programming and
digital sports content, so I'll focus on
those.
In broadcast entertainment Forscene
is used for review, logging and syncpulls (string outs) especially for high
shoot-ratio productions including
Gogglebox, The Voice and Gold Rush.
The major benefit Forscene offers
these users is to provide remote
workflows and collaboration with the
ability to cut down on time spent doing
the basics in high-end edit suites.
In the sports market, Forscene is
used as an editing and publishing tool
- often integrated with other systems.
We ingest live feeds into Forscene
and our clients use Forscene's editing
tool to subclip and create highlights
packages that are published directly
from our platform to CDN's, websites
or social media accounts.
InB: What criteria does the
market use to make buying
decisions regarding your services?
JC: We work with varied customers
from production companies to post

Latest release of Forscene has AAF
import and powerful multitrack features

houses, broadcasters and sports
content producers - and all of them
rely on Forscene to help bring
efficiency to their post-production
workflows.
For some being efficient means
saving money, for others it's about
increasing collaboration and creativity
by enabling workflows that were
previously not possible.
Interoperability is an important
factor for our clients, and one of
Forscene's strengths.
Established post workflows include a
mixture of new and legacy equipment
and it's important that any new
products being considered integrate
with this existing infrastructure with
minimal effort.
Cost is a major consideration in any
buying decision - not only is the actual
fee important, but also the licensing
model. Some clients want the ability
to scale services and associated costs
while others prefer an annual or
project set fee - we offer both options.
Finally, trust is vital - our clients
know that we're an established
company with a proven track record
and that they can rely on the Forscene
team to deliver on our promises and
offer the support they need to make
their projects a success.
InB: Thank you for taking time to
answer our questions.
http://www.inbroadcast.com https://youtu.be/abgrg-TTlfg http://www.forscene.com
Table of Contents for the Digital Edition of In Broadcast - December 2015
