I've written an export controller plug-in that works with a database to register metadata and moves exported media around where it needs to go for playback (TV station automation). One thing I've been unable to resolve is the notion of the user being able to select whether they want the whole sequence exported, the work area, or the in/out points exported. I'm unable to really locate this in the SDK documentation, instead any exports simply render out the entire timeline. In a plain vanilla media export the user can select the Source Range and choose things like Work Area, Sequence In/Out, or Custom. I'm probably just missing it, but I don't see where the hooks for this are in the Export Controller SDK. Can someone give me a nudge in the right direction on where I can set whether to export the whole timeline, or just the work area in an Export Controller?
This particular Export Controller is being consumed internally by our enterprise so it's not a show stopper. I'm not making money off of it, it's just part of moving from Avid based workflows to Adobe workflows in a broadcast environment has necessitated creating some software to fill the small voids. One being the ability to export directly from an editor (Adobe Premiere in this case) to any number of typical broadcast automation systems (Harris in this case). It's typical for a broadcast editor to be charged with creating :10, :15, :20, :30 and even 2:00 spots that are built around the exact same material. Whether it's for news, commercial, promo, whatever. We might export a news package for the noon show that is 2:00 long, but have a :10, :20, and :30 of it used for news teases/promo stuff. Same for promotions and commercials, we often the same stuff going out in various lengths. To accomplish this now, with the current export controller api, we have to create new timelines for each length and export them individually. Which kind of seems a bit silly, but at least you all gave us the ability to integrate which nobody else does in this type of software space! So we're very thankful for the export controller api (which broadcast workflows use quite a lot now, as I'm sure you know, entire third-party asset management workflows depend on it) but it'd be a nice addition to be able to render sub sections instead of the whole timeline on demand. And, of course, be able to send renders to the background (use AME) since much of our work is quick, cuts only with a few dissolves, we could finish entire packages and all the lengths required and be working on the next package in the time it takes to do one render in Premiere. If I had to prioritize it, being able to send to AME for background rendering would trump being able to export subsections of a timeline because being able to do that would drastically increase how quickly we could cut up content and get it exported and move on to the next thing. We don't do feature length stuff, it's a lot of cuts only or template based work that's high volume. Of course, king of all would be the ability to export subsections of video base on either in/outs or work area AND send them to background rendering (AME). That'd be fantastic.
Much is possible using PPro's scripting API, including (but not limited to) calling existing export controllers, rendering sequences to [some AME preset, which may include ftp post-processing] and [some destination]...and rendering using AME on the same system, so editors can get back to editing.
I'm curious about your Harris integration work; my Harris contact hadn't heard of your efforts.
Please contact me directly at bbb at adobe dot com, to further discuss possibilities.
The integration is straightforward for those familiar with Harris automation. The user selects the export plugin and puts in the HouseID they are working on. I'll fetch it from the Harris SQL or let them know it doesn't exist. They update all the usual bits, like title, som, eom, etc.. as required. Then they click Export and I'll monitor their export process. If it succeeds I handle the transfer of their finished piece to Nexio for playback then update the Harris SQL database with all the metadata it needs to play the piece back. I give them progress bars for the transfer and database update, Premiere already gives them a progress bar for the render.
It makes it so they can go from Premiere -> Harris in one step. No need for engaging another department or making a trip to engineering to get something on air. I'll send you a screenshot.