Encoding used to be a synergy between art, science and experience.  Mainly because it was hella expensive to do, and there was only really one format to encode to: DVD.  That gave only a small percentage of the population could use it – and they got really good.  Over the years teh interwebs have completely changed this paradigm – encoding is much more about file flipping for daily use, as opposed to the above venn diagram of encoding.  I tend to think of it like Southwest Airlines: it’s a cattle call to get as much in and out as fast as (in)humanly possible.

Due to encoding no longer being regulated to the end of the post process – that is, just to DVD – several other steps in the post-production process are ripe for encoding solutions.  Now, it’s just a matter of taking notice, and leveraging those opportunities to streamline your process, or simply start making more (read: extra)  money.

Encoding Location Alpha:  Pre-Encode (or, Pre-Rendering).  Take those tapeless formats (XDCAM SD/HD/EX, P2, RED, etc.) and pre-encode them into more NLE friendly formats.  Not only will this give you a more fluid usability during editorial, but often the codec’s you would encode to (Avid DNxHD, ProRes) often hold up better during color grading,  as well as less motion activating when applying effects.  If that’s not enough of an incentive, the amount of time saved by not waiting for the render progress bar to finish when applying effects is alone worth the price of admission.

Pre-Encoding (or, in this case, duping) may also help out when dealing with less than ideal tape-based formats.  HDV is one glaring example.  Looks great, but is a pain in post.  Dupe the tape to a higher quality, or encode it into a more useable format, as described above.

Encoding Location Beta:  Editorial collaboration is no longer limited to DVD dailies.  Web review and approval (RandA) copies, watermarking, smart phone viewing, VFX comps, and Digital Asset Management (DAM) all require encoded versions of the work in progress.  This, in of itself, can take several hours a day.  A robust solution (perhaps even one with logic and automation) can offload this responsibility and generate the RandA encodes.  This means loads more efficiency.  I would consider this to be the best and yet to be fully realized hot spot.

Encoding Location Gamma: Prep for Post Sound.  Each music, editing and mixing environment requires different deliverables.  These may be physical copies with various window burns, digital copies to chase on stage, or work copies for editors and/or foley.  This is the smallest arena in post for additional encoding opportunities, but a significant area nonetheless.

Encoding Location Delta: Traditional – distribution and exhibition.  Physical discs (DVD and BD) Broadcast tapes (HDCAM, Betacam), web (youtube, hulu, quicktime, flash, et al).  This is where the bulk of encoding is done – and where quality usually trumps mass quantities.  Because, you know, it’s OK for the Creatives to look at low res versions, but not the general public.  This stage typically requires the most care – not only do the encodes have to conform to the stringent requirements of the deliverables, but to the highest quality judge of all – the users eyes.

Useful Links:

Scaleable encoding solutions, both hardware and software, for every budget and workflow:  http://www.telestream.net

Root6’s Content Agent: One of the fastest encoders out there, with logic and automation:
http://www.root6technology.com/products/ContentAgent/index.html

Kevin Monahan’s book “Motion Graphics and Effects for Final Cut Pro” discusses the concept of Pre-Rendering; check out http://www.fcpworld.com

Check out the encoding section at michaelkammes.com: http://michaelkammes.com/category/encoding/ ,  Here, you’ll find various posts on conceptual encoding scenarios, and elaboration on the four arenas listed above.