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Adobe and Aframe up the editing ante

Full audio and video editing in the cloud is the next step from the media developer and partner

Two of the leading non-linear audio and video editing manufacturers in the broadcast and music markets have been proclaiming their ubiquity over the last two years: Avid has its ‘Everywhere’ concept while Adobe claims to be ‘Anywhere’. The power of networking and interoperability has helped Avid rediscover its direction, as shown at both Prolight + Sound and NAB, but this approach has also given its keen rival, Adobe, a boost.

The Las Vegas broadcast show was awash with manufacturers showing interfaces and other technologies for Adobe systems. Key among this was the collaboration with platform developer Aframe to offer “full editing” in the cloud. This is based on Adobe Anywhere, with sound capability through the audio component of the Premiere Pro CC edit workstation.

Aimed at projects needing a fast turnaround, ‘Adobe Anywhere in the Cloud delivered by Aframe’ is a combination of the Premiere or Prelude CC editing systems running streamed media with remote storage and media asset management (MAM). It is described as a “one-to-many” system that enables multiple users to log into and work on a project from wherever they happen to be.

“With Adobe Anywhere, editors and other video professionals can use local or remote networks to simultaneously access, stream, and work with remotely stored media,” says Simon Williams, senior director of business development at Adobe. “Aframe’s integration with Adobe Anywhere significantly reduces the investment for customers in infrastructure – a big plus for many organisations.”

David Peto, founder and chief executive of Aframe, saw an early version of Adobe Anywhere before it was launched officially at NAB 2013. At that point it ran over a conventional internet connection and had to be supported by local servers, storage and MAM but Peto (pictured) says he saw the potential for bringing Aframe and Anywhere together to have “collaboration and editing in the cloud, with no download”.

Aframe started work on achieving this around six months ago, enabling users of Premiere and Prelude systems to search for video, audio or graphics footage held in the cloud using keyword metadata descriptions. Selected material is previewed and then a real-time adaptive bit rate stream of the high-resolution version streamed to the editing system. Other people involved in a project can view work as it progresses through Aframe’s share link feature. When an edit is completed it is rendered, automatically transcoded and can be found on cloud storage by connecting to Anywhere.

Right now Adobe’s dedicated audio editing and mixing system, Audition, does not run in Anywhere but sound-only files can be handled on Premiere Pro CC, which has specific tools for the job. “Whatever you put into the edit will go to the cloud,” comments Peto. “That can be stand-alone audio files or anything else Premier can handle.”

Part of the intention behind Adobe Anywhere in the Cloud delivered by Aframe is to make producers and editors less tied to a facility. “It means people do not have to be on a premises, with all the associated hardware and overheads,” Peto says. He adds, however, that he is not trying to do away with facilities: “We want to make running them more efficient and bring in a more modern way of working. It can give editors and producers freedom but there will always be a place for high-end video, grading and audio suites.”

The Aframe-Adobe cloud concept is aimed at promos, reversioning and other work that needs a quick turnaround. Peto says Aframe currently has “a close relationship with Adobe” but as its platform is open other manufacturer’s systems could be supported. The company hopes to bring in early adopters by the autumn with a full launch of the technology planned for early 2016.