Speaker 1: In our demo today, we'll be going over how you can use Media Backbone Navigator X for your production workflows, and especially how you can use it to make them more efficient. We'll be covering that from a few different angles. First, we'll be talking about how you can get content into the system. One of the ways I'm going to be showing you to do that is actually a way that you can get content from remote productions into your on-premise asset management system. Then we'll be covering how you can easily search and retrieve your content and actually get it into your edit sessions. And then lastly, we'll be covering how you can actually archive your content for safekeeping and actually very quickly retrieve it back if you need to get it back to edit with. So let's start on the ingest side of things. So from a high level, Navigator X does allow you to ingest content from a number of different storage pools. You can ingest from local storage, NAS storage. You can ingest from cloud storage if you're using an Amazon S3 bucket or if you're using our own C Media Cloud platform. You can also ingest from an FTP location or even an existing archive library. If you have an existing archive with content already on it, you can ingest those pieces of content, create proxies of them. That way they're searchable, they're previewable, but they still live on your physical archive library and you don't have to pull them onto your online storage. One of the ways I want to focus on today though is how you can use Media Backbone Navigator X with our C Media Cloud platform in order to create a remote ingest workflow. So an example scenario would be if you have a production that's going out on location in a remote location or maybe you have contractors that are shooting content for you and getting it back to you. You can use this workflow in order to get that content from those remote contractors or from a remote location back into your mail. So very quickly, I'm just going to hop over to C here. C Media Cloud is our cloud-based video asset management and collaboration tool. So C, you can store assets in C. They have some great tools for review and approval and collaboration within the cloud. And with the integration between C and Navigator X, you can utilize C in order to get assets from the cloud directly into Navigator X. So I'm just going to quickly hop over to C here and I'm going to upload a sample file just so I can show you guys how this works. So you can imagine that in the field, either your shooter would either have a laptop that was logged into C or maybe you're using one of our own Sony cameras that can create proxies and actually directly upload to the cloud directly from the camera. Any of those workflows would work. So once the asset is uploaded to C and starts to process, I'm going to just jump back over to NavX here. So in Navigator X, you can see the C workspace that I was looking at is mounted right here and all of the folders that were in C are here. And actually, you can already see that that asset that I've uploaded just a few seconds ago, this clip 2723, is actually already being synced directly into my on-premise MAM. So let me show you the settings here. If I jump into the settings, you can see you have a number of options. You can change the sync time, so you can set how often the sync will happen between NavX and C. But what's most important here is the element sync. So you can selectively sync what elements actually get brought down from C. C is able to create its own thumbnails and proxies directly in the cloud. So there's no need to regenerate them in your on-premise MAM. So once those assets are actually uploaded to the cloud, you can just pull them down from the cloud and off you go. So if you're comfortable pulling down the master assets in their full capacity, you can do so. If you are shooting at, you know, if you're shooting higher bitrate content, you can just sync down the proxies and the thumbnails and do a proxy conform workflow where you start editing with your proxies and then maybe sync your masters up later when your cameras do come back on location. So again, a great workflow for being able to get remote content into your system. Again, you can have our own Sony cameras directly uploading proxies to the cloud, or you can have somebody log into C and upload directly from within their browser. And as soon as that content hits C, it's going to get synced right down into Navigator X. So now, not only do you have the ability to ingest content locally when you're at your facility using any one of the number of storage pools I spoke about before, but you can also now have content coming directly into your MAM from the cloud without any sort of intervention in the middle. So it really streamlines that process. Once your content is in Navigator X, the biggest question is, how do I find that content later? How do I look for it? So first thing I want to show is when I click on any of these assets here on the right, you've got your metadata pane. Now when it comes to metadata, you are able to create your own custom metadata schemas within Navigator X. You can create as many schemas as you need, as many types of fields as you need. So you've got options for string fields, date fields, Boolean fields. You can require certain fields. You can also create child dependencies if you want to. So not only are you able to create your own custom metadata schema, but any technical metadata that's associated with your files is also going to be brought in. So for video files, you'll have video audio information as you see here. For image files, you would get your XF metadata. All of that technical metadata is also brought in and associated so that when you're doing your searches, you're able to search across that technical metadata and also your custom metadata. Up here at the top is my search area. We use Elasticsearch for our search. So if you're familiar with Google or any of the major search engines, it's the same open source technology. And directly within the search bar, you can do a search across any piece of metadata, whether, again, whether it be custom metadata or technical metadata. So if I wanted to only look for clips that were audio video with a W in the title, I could very quickly run that search and just pull those clips up. I can also do advanced searches. And with advanced searches, I'm able to layer together any metadata fields in order to find the clips that I need to find. So once I've found my clips, the next question is, how do I get them out to my NLE? I need to work with them now. So there's a few ways you can get assets out of Navigator X to your NLE. The first is a very simple export directly from Navigator X. So you can do it on a single asset. You can select multiple assets, or you can even do it on an entire bin of assets if you wanted to. But I'm just going to come up here to export. And from export, you've got a number of options. So the first option here is the destination option. This is where you're going to specify where you want those assets to actually be exported to. Next, you have a mode. And from here, you've got two options. You've got a copy option and a link option. The copy option is going to copy the original asset to the destination that you specify. A link is just going to create a shortcut in the destination you specified. And that shortcut is going to link directly to the original asset in its original location. And then lastly, you have essence type. And this allows you to select whether you want to export your masters, your proxy, or maybe both. So if you want to work in a proxy conform workflow, maybe you're shooting 4K, 6K, 8K content, you can just export the proxies and then later export your masters and conform to your masters when you're ready to finish your piece in your editor. Also inside of Navigator X, we have what we call storyboards. And with storyboards, storyboards will allow you to put together a sequence of clips without having to go into your NLE. So I'm just going to give it a title here. I'm going to be working with 2997 drop frame clips. So I'm going to select that as my time base. I'm going to save that. And now from here, I'm just going to clear out my search so I can get to my storyboard. So if I open up my storyboard here at the bottom, you'll see I just popped open the storyboard. Now I can go ahead and grab some clips that I want to work with. And I can actually drag them right into that storyboard. And then from here, if I want to preview the storyboard, I can double click into it. And now from here, I can still continue to do my searches. So again, if I want to search across my technical or custom metadata, I can do so and just pull up the clips that I want. Maybe I also want to bring in this clip here. I can do that. Maybe I want to put this clip here, put this clip first. I can rearrange those clips right here. And then I can, if I double click on the storyboard, I can preview that back if I want to. But I can also set in and out points on these clips. So maybe this first clip is a little too long for me. Maybe I just want to put it right there. I'm going to set an out point. Set the in and out point. And one thing you'll notice is that all of my standard NLE shortcuts here work. So my space bar for pause and play. I can use JKL as I'm doing right now on my keyboard to scrub the timeline. And then obviously also my I and O for setting in and out points. So I'm going to just set some in and out points here on these couple of clips. All right. And the great thing here is that now I can actually do an EDL export. So if I come into the contextual menu and hit EDL export, I'll have very similar options to the NLE export option you just saw a few moments ago. So I'll have a destination here. I'll have the same mode. And then from here you'll have option to select an EDL for all of the three major NLEs on the market. So obviously Premiere, Apple's Final Cut, and Avid Media Composer. But that's not to say you can't use these EDLs in other applications. These EDLs can be used in many other applications. So for example, if you're editing in DaVinci Resolve, you can actually use any one of these three in DaVinci Resolve. So you can use these EDLs even for applications that aren't these three. And the great thing about doing this EDL export is now when you import this EDL, you'll have your sequence already created for you and laid out with the clips in order and the in and out points already set for you. So if you have production assistance or maybe you want to start building a timeline over an extended period of time and you don't necessarily want to create a project in your editor, you can go ahead and create that storyboard directly within NavX and continue to build it over time. And then you can just bring in that EDL and those assets into your NLE. For users that are on the Adobe ecosystem, we have panels built for Adobe After Effects as well as Adobe Premiere. This is just a standard extension so you can move it around anywhere in the Premiere GUI so I can drag it around, I can drop it where I need to. If I had a separate screen, I could put it on that separate screen. And this panel is going to allow you to log directly into the Navigator X Asset Manager interface. So from here, I can view all my clips, I can page through them, I can do all my simple searches, I can do my advanced searches, I can browse the bins, I can view and edit metadata, I can even upload back into the system directly from within this panel. So many times for your Adobe editors, they won't even need to jump back and forth between the two interfaces. They can do a majority of what they want to do directly from within Navigator X. So it really makes the process very easy to get your assets into an Adobe application such as Premiere or After Effects. And once you are inside of the panel, you have the same options as before. You can import links or copies of your assets. And again, you can do a single asset, you can import multiple assets, or if you have created a storyboard, you can import a storyboard and it's going to automatically create that sequence for you. So in this case, I'm just importing a single clip here just as an example. And so you'll see the import process is going on, and I'm actually copying the asset to a location. It's going to initiate that Premiere import, and now that asset is there ready for me to work with directly inside of Premiere. The last thing I want to cover with you guys today is archive and retrieval of your assets. So once your assets are already in the system, how do you archive them for safekeeping and be able to bring them back really fast when you need to start working with them again? So NavX has the ability to archive to a number of different locations. You can archive to NAS storage, you can archive to our own Sony optical disk archive. You can also archive to LTO tape via several HSMs that we integrate with. In all of those cases, you have the ability to archive the master essence if you want to and remove that from your local storage, or you can just create a copy on archive for safekeeping. And you have a few indicators to know when your content is archived. So here you see these assets with these yellow underlines. That is an indicator that the master asset is actually offline. And so that's how I can quickly see which assets are offline and archived. But because your proxies are always going to stay online, those assets are still searchable. They're still previewable. If you want, you can export just the proxy if you want to work with the proxy immediately. Or you can do a retrieve of that asset and NavX will actually pull that asset back for you. Or if you're within our Adobe panel and you are pulling back an archived asset from within the panel, same thing. The panel will automate the pullback of that asset for you. So you don't have to worry about getting it from your archive and bringing it back. Navigator X will automate that process for you. And not only are you able to retrieve entire assets, but you can also retrieve parts of your assets. So if I just want, you know, maybe this 30 seconds or maybe I have an hour-long broadcast, I only want to bring back five minutes, I can set an in and out point and from there I can do a partial retrieve. And that is going to only pull back the portion of the clip that I've specified here from archive. So again, it really helps you streamline bringing back your clips from archive. And if you've created a storyboard with archived assets and set those in and out points, you're just going to bring back, and you do partial retrieve, you're just going to bring back the portions of your content that you need to work with. So again, a quick overview of some ways that Navigator X can really help streamline your production workflows, both on the ingest side, again, giving you some great options for ingesting both from local storage or on-premise storage, but also from remote locations. Making it very easy to search for your assets and find your assets very quickly. Making it extremely fast and efficient to get those assets out to your NLEs, whether you're doing a simple export of your proxies or your masters from Navigator X, or working within our Adobe plugins, it makes it very quick and easy to get your content into your edit sessions. And then lastly, archiving your content for safekeeping and being able to quickly bring that content back and being able to selectively bring that content back, so you don't have to bring back massive amounts of files. You can just bring back the portions that you want.