Why you might regret automating QC workflows


Bruce Devlin TV-Bay Magazine
Read ezine online
by Bruce Devlin
Issue 107 - November 2015

In todays electronic media environment, broadcasters and content owners live and die according to the quality and versatility of their media assets. Not only do consumers expect the best quality viewing experience, but they also expect that viewing experience to be possible on the widest range of devices, at any time and in any situation.

This might seem like a Herculean challenge, however the evolution of file-based workflows has provided the means for broadcasters and content owners to service this new multi-platform demand efficiently and profitably. Using one of the new generation Media Asset Management (MAM) platforms, it is possible to manage media output in the highest quality and across a broad diversity of viewing devices.

However, an absolutely critical factor in this process is the quality of your media assets. If the media file is not fit for purpose it can result in the consumers viewing experience falling short of expectations. Furthermore, a poor quality media file can become toxic within a workflow and can create issues and even major system failures if it is not identified, ring-fenced and fixed at the earliest possible stage.

Automated QC yes or no?

So, we all agree that media QC is a critical issue. The next question is how to achieve the optimum QC facilities without it becoming excessively costly and slowing down your workflow, thereby reducing overall efficiency. There is always a balance to be struck between process automation and manual intervention, and the task is getting that balance right.

The EBU are clear on this subject. The organization recognised QC as an important topic for the media industry in 2010. The following year it started an EBU Strategic Programme on Quality Control, with the aim to collect requirements, experiences and to create recommendations for broadcasters implementing file-based QC in their facilities.

Today, facilities are able to benefit from the findings on this Programme. Firstly, the EBU does not recommend entirely manual QC systems it says, Broadcasters moving to file-based production facilities have to consider how to use automated Quality Control systems. Manual quality control is simply not adequate anymore and it does not scale.

However, this does not mean that the optimum solution is fully automated QC regimes. I believe that broadcasters and facilities would quickly regret installing a fully automated QC system since there are certain media faults and scenarios that are not efficiently detected and corrected by machines. In certain scenarios it is far easier, more efficient and less costly to combine human intervention alongside the process automation engine. Furthermore, in some situations a trained operator can perform the required media file fix much more quickly and efficiently than any machine.

The challenge is to create a combined human and automated QC review system, which provides a single integrated user interface for media fix-up judgment. This will enable a range of different human interventions, including creative, forced and controlled operations.

The end result is a fast, efficient and flexible file-based workflow that mixes automated inspection and metadata generation with human judgment where media file quality is assured from the first touch to final delivery.


Tags: iss107 | dalet academy | qc workflows | automation | media assets | multi platform | device | Bruce Devlin
Contributing Author Bruce Devlin

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • DALET ACADEMY NAB 2015

    DALET ACADEMY NAB 2015

  • Be More with Clear from Prime Focus Technologies at NAB 2017

    Be More with Clear from Prime Focus Technologies at NAB 2017

  • Facility Management Software from Xytech at NAB 2017

    Facility Management Software from Xytech at NAB 2017

  • ROOT6 Technology at IBC 2015

    ROOT6 Technology at IBC 2015

  • Telestream Enterprise at NAB 2014

    Telestream Enterprise at NAB 2014

  • Telestream Switch at NAB 2014

    Telestream Switch at NAB 2014

  • Miranda on BroadcastShow LIVE at IBC 2013

    Miranda on BroadcastShow LIVE at IBC 2013

  • Softron Media Services on BroadcastShow LIVE at IBC 2013

    Softron Media Services on BroadcastShow LIVE at IBC 2013

  • Telestream with Wirecast version five at IBC 2013

    Telestream with Wirecast version five at IBC 2013

  • Telestream with Post Producer at IBC 2013

    Telestream with Post Producer at IBC 2013

  • Cinegy: Multiviewer at NAB 2013

    Cinegy: Multiviewer at NAB 2013

  • Root6 at NAB 2012

    Root6 at NAB 2012

  • PlayBox Technology at IBC2011

    PlayBox Technology at IBC2011

  • Mosart at IBC2011

    Mosart at IBC2011

  • Telestream Vantage v5 at NAB 2013

    Telestream Vantage v5 at NAB 2013

  • Media Links Net Gazer and Next Gen Media Gateway Device at IBC 2017

    Media Links Net Gazer and Next Gen Media Gateway Device at IBC 2017

  • Video Devices PIX-E at IBC 2016

    Video Devices PIX-E at IBC 2016

  • Sound Devices Wingman app at IBC 2016

    Sound Devices Wingman app at IBC 2016

  • Video Devices at NAB 2016

    Video Devices at NAB 2016

  • Sound Devices 6-Series mixers at NAB 2016

    Sound Devices 6-Series mixers at NAB 2016

  • Video Devices at BVE 2016

    Video Devices at BVE 2016

  • Sound Devices 688 at IBC 2015

    Sound Devices 688 at IBC 2015

  • Video Devices PIX-E Series at IBC 2015

    Video Devices PIX-E Series at IBC 2015

  • Sound Devices at NAB 2014

    Sound Devices at NAB 2014

  • Sound Devices on BroadcastShow LIVE at IBC 2013

    Sound Devices on BroadcastShow LIVE at IBC 2013

  • Sound Devices PIX260i Recorder at IBC 2013

    Sound Devices PIX260i Recorder at IBC 2013

  • Sound Devices at NAB 2013

    Sound Devices at NAB 2013

  • Shure Sound Devices at BVE 2013

    Shure Sound Devices at BVE 2013

  • Sound Devices at NAB 2012

    Sound Devices at NAB 2012

  • Sound Devices at ProVideo2011

    Sound Devices at ProVideo2011

  • Sound Devices at IBC2011

    Sound Devices at IBC2011

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Clear-Com at IBC 2015

    Clear-Com at IBC 2015

  • Pronology at IBC 2014

    Pronology at IBC 2014

  • LiveU: Smart Grip at NAB 2013

    LiveU: Smart Grip at NAB 2013

  • Shure Distribution at BVE North 2012 Part 2

    Shure Distribution at BVE North 2012 Part 2


Related Shows
  • Day 4 of BroadcastShow at IBC

    Day 4 of BroadcastShow at IBC


Articles
NAB Intelligence
Bruce Devlin - new It's that time of year again. 06:30 on road bikes on the Las Vegas Strip with a merry bunch of folks who believe they look good in lycra. As we pedal West up the hill towards Red Rock there will be stories of the year just gone and questions about what to look for at the show. I, for one, will be attending the Devoncroft event to check up on who is spending what and where. I will then look forward to the topics that might be buzzing around the halls. I predict there will be many displays of Machine Learning hiding under the banner of Artificial Intelligence. Some of these will show better picture quality, others will show personalisation engines, some will be improved search tools and yet more will be synthesising pictures and motions to replace reality with and Artificial reality that's more compelling for the viewer.
Tags: iss136 | nab | class | ai | smpte | st2110 | imf | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
TV Futures - The Shadowing Experience
Daniel Jones My name is Daniel Jones, and it is no accident that I’m currently studying BSc (Hons) Television and Broadcasting at the University of Portsmouth. Since completing GSCE media studies I have been constantly questioning what I watch with questions such as, “Wow, how was that filmed?” or “That looks amazing, I wonder how long that took?” It should come as no surprise that I made it a big focus of mine to get myself some real work experience to give myself some answers to these production questions.
Tags: iss136 | portsmouth university | runner | student | education | training | Daniel Jones
Contributing Author Daniel Jones Click to read or download PDF
4k and HDR Wireless Camera Transmitters
David Edwards Across the globe, live events represented over 50 percent of the most watched TV programs last year. However, big budget episodic shows are impacting live TV and the way viewers want to see their content. Viewers are demanding the same quality of production for live event broadcasts as they see in pre-recorded TV series and films. Producers of live content are looking to new, immersive and cinematic mobile camera views to better achieve these results. This presents a challenge to live production teams as these new camera views and angles must match the quality of the rest of the production -  the demand for mobility means that the cameras need to be wireless.
Tags: iss136 | wireless | hdr | 4k | transmitter | bandwidth | imt vislink | hcam | David Edwards
Contributing Author David Edwards Click to read or download PDF
BSC Expo 2019 Report
Paul MacKenzie BSC Expo returned to the Battersea Evolution on Friday February 1st and Saturday 2nd. It is a busy and friendly event though this year in need of some temperature control: exhibitors around the entrance area were uncomfortably aware of the wintry conditions outside and the main hall was in need of cooling.
Tags: iss136 | bsc | cinematography | canon | c700 | c200 | cartoni | holdan | blackmagic | peli | panasonic | sennheiser | sony | fs5 | teradek | viten | flowtech | Paul MacKenzie
Contributing Author Paul MacKenzie Click to read or download PDF
Preserving the British Film Institute Archive
David Feller Today, the media and entertainment industry faces numerous challenges. To remain successful and competitive, these organisations must be ever innovative, agile and cost efficient in the way they produce, store, manage and distribute their digital assets. Content creators have traditionally relied upon outdated storage models, comprised of legacy interfaces, file structures and historical proprietary storage management software that tend to be complex, cumbersome and expensive. This makes it difficult to forecast and budget for ever-growing content in the effort to reach viewers.
Tags: iss136 | bfi | archive | blackpearl | spectra | storage | film | tape | David Feller
Contributing Author David Feller Click to read or download PDF