如何构建多屏幕在线视频工作流

大概是我第一份工作的时候，史蒂芬·柯维的 成功人士的七个习惯 从公司董事会到军队作战室，都很流行吗. As a Department of Defense contractor, I was one of tens of thousands shuffled through day-long 七个习惯 seminars, yet today I can remember only one of his then-hallowed habits: Begin with the end in mind.

仍然, Covey’s adage about pre-planning is highly pertinent to crafting a multiscreen workflow strategy, 从收购到交付. 本文并没有为每个工作流部分提供一套循序渐进的公式, 但我们希望这些建议对制作人和内容所有者都是可靠的.

在计划本文时，我希望生成的更新版本网飞公司给出的基本建议在2008年的博客上.

当时, the company was only streaming content in standard definition but was experimenting with high-definition delivery. 像这样, 该帖子指出，网飞公司更喜欢接收高清版本的内容, 即使它的初始分布只在SD中显示.

“我们最好的信息来源是电子传送的夹层文件, 或高质量的D5磁带,尼尔·亨特写道。, 网飞公司首席产品官, 这些源的最高比特率编码确实看起来和dvd一样好，甚至更好. ... 我们获得了许多游戏的高清百家乐软件，即使我们只有流式传输SD的权利. 与使用标清源相比，高清源允许更好的标清编码.”

时代是如何变化的. 今天, much of Hunt’s advice has been superseded by advances in technology: 网飞公司 now streams the majority of its content in HD, 并准备对超高清(4K的消费者版)进行几次测试. 此外，该公司的原创内容也以4K或更高的分辨率制作.

But what if you’re an indie producer who has aspirations of getting content on to 网飞公司 (and, 通过扩展, 几乎所有的顶级视频服务都是如此)? 如何通过最佳实践工作流来准备内容?

设置预设

如今，网飞公司认为内容的质量将会过关, 虽然它还没有公开提供2008年博客文章的更新, a spokesperson played down the issues surrounding encoding requirements as a major hurdle for its multiscreen workflow.

“我们在接受的格式上非常灵活,网飞公司的一位发言人说, 谁要求不具名, 我们自己进行自适应比特率编码, so there is no need for studios to provide multiple bitrates or encodings that are especially adapted to our system.”

One area the company has pushed into is a move to partner with companies that offer transcoding solutions, in hopes of simplifying the overall process for large studios and well-heeled content owners.

“我们很高兴能与他合作数字急流,——克里斯托弗·费特纳, 网飞公司的内容合作伙伴运营总监, 在2013年4月的一次新闻发布会上说道, “to provide presets to simplify the transformation process for users delivering content assets to 网飞公司.”

Fetner对Harmonic也发表了类似的评论, 另一家与网飞公司合作，在其转码解决方案中提供预设的公司.

我问迈克·南, 他是数字急流公司的营销和传播总监, to share some insights into the workflow issues faced by a large studio -- or even an independent production house -- looking to distribute its content on a platform like 网飞公司.

Nann first noted that 数字急流’ agreements meant he couldn’t “disclose the mezzanine/contribution specifications of 网飞公司 or any other particular distributor, 因为他们将需求提供给他们的内容合作伙伴.”

然而, Nann pointed out that the presets save both 网飞公司 and the content owner a significant amount of trial-and-error or just sheer frustration when it comes to a multiscreen delivery approach.

“如果网飞公司或其他内容分销商没有规范,南说。, “content owners might try to submit content in dozens of different formats with all sorts of quality variations and nuances.

“你可能已经猜到了, the type of content owners/partners that we’ve been involved with have been the Hollywood movie studios, 高端电视制作, 等., so their acquisition and post-production practices were already well-defined and fully adequate for the subsequent distribution transformations.”

南接着说, 不仅仅是为网飞公司准备内容, the requirements for content preparation can vary considerably among the target content distributors.

“这里最基本的关键是, when providing content in a B2B partnership relationship between a content owner and distributor, 内容通常不是以直接供消费者使用的格式提供的,南说。. “The deliverable is a mezzanine ‘master’ format that will be subsequently transformed into whatever outputs are required for consumer delivery currently or in the future.”

你的工作流程是关于数据的

Another consideration in preparing content for a multiscreen strategy is the complexity of 元数据. It turns out this is one of the key issues facing anyone who looks to distribute multiscreen content, 比收购或夹层视频格式更重要.

When asked about issues that have come up around the idea of complexity in getting content prepared for 网飞公司 viewing, the spokesperson reiterated what had been stated during last year’s Streaming Forum session on 数字化供应链.

“我认为复杂性更多的是与让一切井然有序有关, 关于不同的情节, 音轨, 字幕, 元数据, 艺术品等.发言人说. “很多人还没有很好的系统来管理这种复杂性.”

换句话说, anyone preparing content for 网飞公司 or other online video delivery platforms will find much of their workflow deals with the issues surrounding 元数据.

This level of complexity is also important for those who are preparing for live multiscreen delivery, 是公司吗?, 娱乐, 礼拜场所, 甚至是教育.

“I put all the 信息 into the program for that Sunday the morning of our first service,喜剧演员企业的克里斯·查普曼说, 为夏洛特一家教堂提供直播服务的公司, NC, area, 以及为几个南方福音歌唱团体提供直播支持.

多屏幕工作流从捕获点开始, 对于喜剧演员公司的克里斯·查普曼来说，哪一款是纽泰克的TriCaster, into which he enters 元数据 that might not be seen by the audience but is crucial for keeping track of assets as they move through the workflow.

当查普曼说他把信息输入他的直播工具时, 一台新泰克滴灌机, 他说的不仅仅是基本的名字和头衔细节.

“我使用当地教堂的礼拜顺序,查普曼说。, 来添加歌名, 歌手的名字, 消息标题, 轮廓点, 还有我们直播地点的教堂信息. 这可以包括本地观众看不到的流元数据, 包括教堂的邮件, 网站, address, 联系电话.”

Entering that kind of 元数据 for each video file is crucial in ensuring the content moves smoothly through the workflow.

映射音景

Another area that Nann points out as a potential pitfall is the proper positioning of audio content.

“似乎获取格式和编码参数还不够具有挑战性,南说。, “problems can easily occur with other factors such as audio track mapping to speaker positions and multiple languages.”

对于一个大工作室来说, 哪家公司将一部环绕立体声的电影发行到各种各样的移动影院, 将音频映射到音景的想法可能不是一个巨大的障碍, but it turns out that both studios and independent producers need to think about audio mapping for a variety of products that range from summed mono -- older mobile phones -- to full surround sound and even the pseudo-surround tools used in a variety of today’s tablets, 智能手机, 以及更新的智能电视.

房间里最大的屏幕

有时, 虽然, delivery to the set-top box or living room television isn’t the biggest screen you’ll need to plan for.

在这一天做双重职责与视频混音设备, there’s a tendency to think that viewing patterns in the 20-foot-distance to a giant projection screen in a venue should be the same patterns as the 20-inch distance from the smartphone on which a portion of your audience may be watching the same event stream.

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