How to Build a Multiscreen Online Video Workflow
Around the time of my first job, Stephen Covey’s 七个习惯 of Highly Successful People was all the rage, from the corporate boardroom to the military war room. 作为国防部的一名合同工，我和其他成千上万的人一样，整天忙忙碌碌 七个习惯 然而，今天我只记得他当时神圣的一个习惯:以终为始.
仍然, 柯维关于预先规划的格言与制定多屏幕工作流策略高度相关, 从收购到交付. This article doesn’t follow a set step-by-step formula for each of the workflow segments, but we hope the overall advice is solid for producers and content owners alike.
As I planned this article, I hoped to generate an updated version of 网飞公司给出的基本建议 在2008年的博客上.
当时, 该公司只提供标准清晰度的流媒体内容，但正在尝试高清传输. 像这样, the post noted that 网飞公司 preferred to receive HD versions of content, even if its initial distribution was to only be shown in SD.
“Our best sources are electronically delivered mezzanine files, 或高质量的D5磁带,尼尔·亨特写道。, 网飞公司 首席产品官, “and the highest bitrate encodes of these sources really look as good or better than DVDs. ... We get HD sources for many titles, even if we only have the rights to stream SD. The HD sources permit a better SD encode than working from SD sources.”
时代是如何变化的. 今天, 亨特的许多建议已经被技术进步所取代:网飞公司现在的大部分内容都是高清流媒体, and has a few tests of Ultra HD -- the consumer version of 4K -- in the wings. In addition, the company’s original content is also produced at 4K or higher resolutions.
但是，如果你是一名独立制作人，想把内容放到网飞公司(和网飞公司)上呢, 通过扩展, just about any over-the-top video service)? How do you go about getting the content ready via a best-practices workflow?
设置预设
网飞公司 these days assumes that content will pass muster in terms of quality, and while it hasn’t yet publicly provided an update to the 2008 blog post, 一位发言人淡化了围绕编码要求的问题，认为这是其多屏幕工作流程的主要障碍.
“We are pretty flexible around the formats we accept,网飞公司的一位发言人说, 谁要求不具名, “and we do all our own adaptive bitrate encoding, 所以工作室不需要提供多种比特率或特别适合我们系统的编码.”
该公司正在推进的一个领域是与提供转码解决方案的公司合作, in hopes of simplifying the overall process for large studios and well-heeled content owners.
“We’re thrilled to be collaborating with 数字急流,——克里斯托弗·费特纳, director of content partner operations at 网飞公司, said in an April 2013 press release, ，为用户提供预置，简化向网飞公司交付内容资产的转换过程.”
Fetner made a similar comment regarding Harmonic, another company that partnered with 网飞公司 to provide presets in its transcoding solutions.
我问迈克·南, director of marketing and communications at 数字急流, 分享一些关于大型工作室(甚至是独立制作公司)在网飞公司等平台上发布内容所面临的工作流程问题的见解.
南恩首先指出，数字急流的协议意味着他不能“披露网飞公司或任何其他特定分销商的夹层/贡献规格”, as they make the requirements available to their content partners.”
然而, 南恩指出，当涉及到多屏幕传输方法时，预设为网飞公司和内容所有者节省了大量的试错或纯粹的挫败感.
“If 网飞公司 or other content distributors did not have a spec,南说。, 内容所有者可能会尝试以数十种不同的格式提交内容，这些格式具有各种质量差异和细微差别.
“你可能已经猜到了, 我们所涉及的内容所有者/合作伙伴类型一直是好莱坞电影制片厂, 高端电视制作, 等., 因此，他们的获取和后期制作实践已经被明确定义，并且完全适合于随后的发行转换.”
南接着说, beyond just preparing content for 网飞公司, 在不同的目标内容分发者之间，内容准备的需求可能会有很大的不同.
“这里最基本的关键是, 在内容所有者和分发者之间的B2B伙伴关系中提供内容时, the content is typically NOT provided in a format intended for direct consumer consumption,南说。. “可交付的产品是夹层‘主’格式，随后将转换为当前或未来消费者交付所需的任何输出.”
你的工作流程是关于数据的
为多屏幕策略准备内容时要考虑的另一个问题是元数据的复杂性. 事实证明，这是任何想要分发多屏幕内容的人所面临的关键问题之一, much more so than the acquisition or mezzanine video formats.
当被问及为网飞公司观看准备内容的复杂性时出现的问题时, 发言人重申了在去年流媒体论坛上的发言 数字化供应链.
“I believe the complexity is more related to getting everything in order, with respect to different episodes, 音轨, 字幕, 元数据, 艺术品等.发言人说. “A lot of people don’t yet have great systems for managing that complexity.”
换句话说, 任何为网飞公司或其他在线视频交付平台准备内容的人都会发现，他们的工作流程中有很多都是围绕元数据的问题.
对于那些准备进行多屏幕直播的人来说，这种复杂性也很重要, 是公司吗?, 娱乐, 礼拜场所, 甚至是教育.
“我把所有的信息都写进了那个星期天早上我们第一次做礼拜的节录里,” says Chris Chapman of CoMEDIAn Enterprises, which runs live streaming services for a house of worship in the Charlotte, NC, area, as well as live streaming support for several Southern Gospel singing groups.
The multiscreen workflow begins at the point of capture, which for CoMEDIAn Enterprises’ Chris Chapman is 一台新泰克滴灌机, 他在其中输入元数据，这些元数据可能不会被观众看到，但对于跟踪资产在工作流中的移动至关重要.
When Chapman says that he enters 信息 into his live streaming tool, 一台新泰克滴灌机, he’s talking about much more than just the basic name and title details.
“I use the local house of worship’s order of service,查普曼说。, 来添加歌名, 歌手的名字, 消息标题, 轮廓点, and church 信息 for the location where we’re doing the live stream. This can include 元数据 for the stream that won’t be seen by the local audience, 包括教堂的邮件, 网站, address, 联系电话.”
为每个视频文件输入这种元数据对于确保内容顺利通过工作流程至关重要.
映射音景
Nann指出的另一个潜在陷阱是音频内容的正确定位.
“As if acquisition formats and encoding parameters aren’t challenging enough,南说。, 问题很容易出现在其他因素上，比如音轨映射到说话者的位置和多种语言.”
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, the idea of audio mapping the soundscape might not be a huge hurdle, 但事实证明，工作室和独立制作人都需要考虑各种产品的音频映射，从单声道到全环绕声，甚至是今天各种平板电脑中使用的伪环绕声工具, 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, 送到机顶盒或客厅电视机上并不是你需要计划的最大屏幕.
In this day of doing double-duty with video mixing equipment, 人们倾向于认为，在一个场馆中，距离巨大投影屏幕20英尺的观看模式应该与距离智能手机20英寸的观看模式相同，因为一部分观众可能正在智能手机上观看同一场比赛.
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