Tag Archives: storage

DigitalGlue’s Creative.Space optimized for Resolve workflows

DigitalGlue’s Creative.Space, an on-premise managed storage (OPMS) service, has been optimized for Blackmagic DaVinci Resolve workflows, meeting the technical requirements for inclusion in Blackmagic’s Configuration Guide. DigitalGlue is an equipment, integration and software development provider, that also designs and implements solutions for complete turnkey content creation, post production and distribution.

According to DigitalGlue CEO/CTO Tim Anderson, each Creative.Space system is pre-loaded with a Resolve optimized PostreSQL database server enabling users to simply create databases in Resolve using the same address they use to connect to their storage. In addition, users can schedule database backups with snapshots, ensuring that work is preserved timely and securely. Creative.Space also uses media intelligent caching to move project data and assets into a “fast lane” allowing all collaborators to experience seamless performance.

“We brought a Creative.Space entry-level Auteur unit optimized with a DaVinci Resolve database to the Blackmagic training facility in Burbank,” explains Nick Anderson, Creative.Space product manager. “The Auteur was put through a series of rigorous testing processes and passed each with flying colors. Our Media Intelligent caching allowed the unit to provide full performance to 12 systems at a level that would normally require a much larger and more expensive system.”

Auteur was the first service in the Creative.Space platform to launch. Creative.Space targets collaborative workflows by optimizing the latest hardware and software for efficiency and increased productivity. Auteur starts at 120TB RAW capacity across 12 drives in a 24-bay 4RU chassis with open bays for rapid growth. Every system is custom-built to address each client’s unique needs. Entry level systems are designed for small to medium workgroups using compressed 4K, 6K and 8K workflows and can scale for 4K uncompressed workflows (including 4K OpenEXR) and large multi-user environments.

Avid adds to Nexis product line with Nexis|E5

The Nexis|E5 NL nearline storage solution from Avid is now available. The addition of this high-density on-premises solution to the Avid Nexis family allows Avid users to manage media across all their online, nearline and archive storage resources.

Avid Nexis|E5 NL includes a new web-based Nexis management console for managing, controlling and monitoring Nexis installations. NexislE5 NL can be easily accessed through MediaCentral | Cloud UX or Media Composer and also integrates with MediaCentral|Production Management, MediaCentral|Asset Management and MediaCentral|Editorial Management to help collaboration, with advanced features such as project and bin sharing. Extending the Nexis|FS (file system) to a secondary storage tier makes it easy to search for, find and import media, enabling users to locate content distributed throughout their operations more quickly.

Build for project parking, staging workflows and proxy archive, Avid reports that Nexis | E5 NL streamlines the workflow between active and non-active assets, allowing media organizations to park assets as well as completed projects on high-density nearline storage, and keep them within easy reach for rediscovery and reuse.

Up to eight Nexis|E5 NL engines can be integrated as one virtualizable pool of storage, making content and associated projects and bins more accessible. In addition, other Avid Nexis Enterprise engines can be integrated into a single storage system that is partitioned for better archival organization.

Additional Nexis|E5 NL features include:
• It’s scalable from 480TB of storage to more than 7PB by connecting multiple Nexis|E5 NL engines together as a single nearline system for a highly scalable, lower-cost secondary tier of storage.
• It offers flexible storage infrastructure that can be provisioned with required capacity and fault-tolerance characteristics.
• Users can configure, control and monitor Nexis using the updated management console that looks and feels like a MediaCentral|Cloud UX application. Its dashboard provides an overview of the system’s performance, bandwidth and status, as well as access to quickly configure and manage workspaces, storage groups, user access, notifications and other functions. It offers the flexibility and security of HTML5 along with an interface design that enables mobile device support.

DigitalGlue’s Creative.Space intros all-Flash 1RU OPMS storage

Creative.Space, a division of DigitalGlue that provides on-premise managed storage (OPMS) as a service for production and post companies as well as broadcast networks, has added the Breathless system to its offerings. The product will make its debut at Cine Gear in LA next month.

The Breathless Next Generation Small Form Factor (NGSFF) media storage system offers 36 front-serviceable NVMe SSD bays in 1RU. It is designed for 4K, 6K and 8K uncompressed workflows using JPEG2000, DPX and multi-channel OpenEXR. There are 4TB of NVMe SSDs currently available, but a 16TB version will be available in later this year, allowing 576TB of Flash storage to fit in 1RU. Breathless performs 10 million random read IOPS (Input/Output Operations per Second) of storage performance (up to 475,000 per drive).

Each of the 36 NGSFF SSD bays connects to the motherboard directly over PCIe to deliver maximum potential performance. With dual Intel Skylake-SP CPUs and 24 DDR4 DIMMs of memory, this system is perfect for I/O intensive local workloads, not just for high-end VFX, but also realtime analytics, database and OTT content delivery servers.

Breathless’ OPMS features 24/7 monitoring, technical support and next-day repairs for an all-inclusive, affordable fixed monthly rate of $2,495.00, based on a three-year contract (16TB of SSD).

Breathless is the second Creative.Space system to launch, joining Auteur, which offers 120TB RAW capacity across 12 drives in a 24-bay 4 RU chassis. Every system is custom-built to address each client’s needs. Entry level systems are designed for small to medium workgroups using compressed 4K, 6K and 8K workflows and can scale for 4K uncompressed workflows (including 4K OpenEXR) and large multi-user environments.

DigitalGlue, an equipment, integration and software development provider, also designs and implements turnkey solutions for content creation, post and distribution.

 

NAB 2018: My key takeaways

By Twain Richardson

I traveled to NAB this year to check out gear, software, technology and storage. Here are my top takeaways.

Promise Atlas S8+
First up is storage and the Promise Atlas S8+. The Promise Atlas S8+ is a network attached storage solution for small groups that features easy and fast NAS connectivity over Thunderbolt3 and 10GB Ethernet.

The Thunderbolt 3 version of the Atlas S8+ offers two Thunderbolt 3 ports, four 1Gb Ethernet ports, five USB 3.0 ports and one HMDI output. The 10g BaseT version swaps in two 10Gb/s Ethernet ports for the Thunderbolt 3 connections. It can be configured up to 112TB. The unit comes empty, and you will have to buy hard drives for it. The Atlas S8+ will be available later this year.

Lumaforge

Lumaforge Jellyfish Tower
The Jellyfish is designed for one thing and one thing only: collaborative video workflow. That means high bandwidth, low latency and no dropped frames. It features a direct connection, and you don’t need a 10GbE switch.

The great thing about this unit is that it runs quiet, and I mean very quiet. You could place it under your desk and you wouldn’t hear it running. It comes with two 10GbE ports and one 1GbE port. It can be configured for more ports and goes up to 200TB. The unit starts at $27,000 and is available now.

G-Drive Mobile Pro SSD
The G-Drive Mobile Pro SSD is blazing-fast storage with data transfer rates of up to 2800MB/s. It was said that you could transfer as much as a terabyte of media in seven minutes or less. That’s fast. Very fast.

It provides up to three-meter drop protection and comes with a single Thunderbolt 3 port and is bus powered. It also features a 1000lb crush-proof rating, which makes it ideal for being used in the field. It will be available in May with a capacity of 500GB. 1TB and 2TB versions will be available later this year.

OWC Thunderblade
Designed to be rugged and dependable as well as blazing fast, the Thunderblade has a rugged and sleek design, and it comes with a custom-fit ballistic hard-shell case. With capacities of up 8TB and data transfer rates of up to 2800MB/s, this unit is ideal for on-set workflows. The unit is not bus powered, but you can connect two ThunderBlades that can reach speeds of up to 3800MB/s. Now that’s fast.

OWC Thunderblade

It starts at $1,199 for the 1TB and is available now for purchase.

OWC Mercury Helios FX External Expansion Chassis
Add the power of a high-performance GPU to your Mac or PC via Thunderbolt 3. Performance is plug-and-play, and upgrades are easy. The unit is quiet and runs cool, making it a great addition to your environment.

It starts at $319 and is available now.

Flanders XM650U
This display is beautiful, absolutely beautiful.

The XM650U is a professional reference monitor designed for color-critical monitoring of 4K, UHD, and HD signals. It features the latest large-format OLED panel technology, offering outstanding black levels and overall picture performance. The monitor also features the ability to provide a realtime downscaled HD resolution output.

The FSI booth was showcasing the display playing HD, UHD, and UHD HDR content, which demonstrates how versatile the device is.

The monitor goes for $12,995 and is available for purchase now.

DaVinci Resolve 15
What could arguably be the biggest update yet to Resolve is version 15. It combines editing, color correction, audio and now visual effects all in one software tool with the addition of Fusion. Other additions include ADR tools in Fairlight and a sound library. The color and edit page has additions such as a LUT browser, shared grades, stacked timelines, closed captioning tools and more.

You can get DR15 for free — yes free — with some restrictions to the software and you can purchase DR15 Studio for $299. It’s available as a beta at the moment.

Those were my top take aways from NAB 2018. It was a great show, and I look forward to NAB 2019.


Twain Richardson is a co-founder of Frame of Reference, a boutique post production company located on the beautiful island of Jamaica. Follow the studio and Twain on Twitter: @forpostprod @twainrichardson

Riding the digital storage bus at the HPA Tech Retreat

By Tom Coughlin

At the 2018 HPA Tech Retreat in Palm Desert there were many panels that spoke to the changing requirements for digital storage to support today’s diverse video workflows. While at the show, I happened to snap a picture of the Maxx Digital bus — these guys supply video storage and RAID. I liked this picture because it had the logos of a number of companies with digital storage products serving the media and entertainment industry. So, this blog will ride the storage bus to see where digital storage in M&E is going.

Director of photography Bill Bennett, ASC, and senior scientist for RealD Tony Davis gave an interesting talk about why it can be beneficial to capture content at high frame rates, even if it will ultimately be shown at much lower frame rate. They also offered some interesting statics about Ang Lee’s 2016 technically groundbreaking movie, Billy Lynn’s Long Halftime Walk, which was shot in in 3D at 4K resolution and 120 frames per second.

The image above is a slide from the talk describing the size of the data generated in creating this movie. Single Sony F65 frames with 6:1 compression were 5.2MB in size with 7.5TB of average footage per day over 49 days. They reported that 104-512GB cards were used to capture and transfer the content and the total raw negative size (including test materials) was 404TB. This was stored on 1.5PB of hard disk storage. The actual size of the racks used for storage and processing wasn’t all that big. The photo below shows the setup in Ang Lee’s apartment.

Bennett and Davis went on to describe the advantages of shooting at high frame rates. Shooting at high frame rates gives greater on-set flexibility since no motion data is lost during shooting, so things can be fixed in post more easily. Even when shown at lower resolution in order to get conventional cinematic aesthetics, a synthetic shutter can be created with different motion sense in different parts of the frame to create effective cinematic effects using models for particle motion, rotary motion and speed ramps.

During Gary Demos’s talk on Parametric Appearance Compensation he discussed the Academy Color Encoding System (ACES) implementation and testing. He presented an interesting slide on a single master HDR architecture shown below. A master will be an important element in an overall video workflow that can be part of an archival package, probably using the SMPTE (and now ISO) Archive eXchange Format (AXF) standard and also used in a SMPTE Interoperable Mastering Format (IMF) delivery package.

The Demo Area
At the HPA Retreat exhibits area we found several interesting storage items. Microsoft had on exhibit one of it’s Data Boxes, that allow shipping up to 100 TB of data to its Azure cloud. The Microsoft Azure Data Box joins Amazon’s Snowball and Google’s similar bulk ingest box. Like the AWS Snowball, the Azure Data Box includes an e-paper display that also functions as a shipping label. Microsoft did early testing of their Data Box with Oceaneering International, which performs offline sub-sea oil industry inspection and uploaded their data to Azure using Data Box.

ATTO was showing its Direct2GPU technology that allowed direct transfer from storage to GPU memory for video processing without needing to pass through a system CPU. ATTO is a manufacturer of HBA and other connectivity solutions for moving data, and developing smarter connectors that can reduce overall system overhead.

Henry Gu’s GIC company was showing its digital video processor with automatic QC, and IMF tool set enabling conversion of any file type to IMF and transcoding to any file format and playback of all file types including 4K/UHD. He was doing his demonstration using a DDN storage array (right).

Digital storage is a crucial element in modern professional media workflows. Digital storage enables higher frame rate, HDR video recording and processing to create a variety of display formats. Digital storage also enables uploading bulk content to the cloud and implementing QC and IMF processes. Even SMPTE standards for AXF, IMF and others are dependent upon digital storage and memory technology in order to make them useful. In a very real sense, in the M&E industry, we are all riding the digital storage bus.


Dr. Tom Coughlin, president of Coughlin Associates, is a storage analyst and consultant. Coughlin has six patents to his credit and is active with SNIA, SMPTE, IEEE and other pro organizations. Additionally, Coughlin is the founder and organizer of the annual Storage Visions Conference as well as the Creative Storage Conference.
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Quantum’s Xcellis scale-out NAS targets IP workflows for M&E

Quantum is now offering a new Xcellis Scale-out NAS targeting data-heavy IP-based media workflows. Built off Quantum’s StorNext shared storage and data management platform, the multi-protocol, multi-client Xcellis Scale-out NAS system combines media and metadata management with high performance and scalability. Users can configure an Xcellis solution with both scale-out SAN and NAS to provide maximum flexibility.

“Media professionals have been looking for a solution that combines the performance and simplified scalability of a SAN with the cost efficiency and ease of use of NAS,” says Quantum’s Keith Lissak. “Quantum’s new Xcellis Scale-out NAS platform bridges that gap. By affordably delivering high performance, petabyte-level scalability and advanced capabilities such as integrated AI, Xcellis Scale-out NAS is [a great] solution for migrating to all-IP environments.”

Specific benefits of Xcellis Scale-out NAS include:
• Increased Productivity in All-IP Environments: It features a converged architecture that saves space and power, continuous scalability for simplified scaling of performance and capacity and unified access to content.
• Cost-Effective Scaling of Performance and Capacity: One appliance provides 12 GB/sec per client. An Xcellis cluster can scale performance and capacity together or independently to reach hundreds of petabytes in capacity and more than a terabyte per second in performance. When deployed as part of a multitier StorNext infrastructure ― which can include object, tape and cloud storage ― Xcellis Scale-out NAS can cost as little as 1/10 that of an enterprise-only NAS solution with the same capacity.
• Lifecycle, Location and Cost Management: It’s built off of Quantum’s StorNext software, which provides automatic tiering between flash, disk, tape, object storage and public cloud. Copies can be created for content distribution, collaboration, data protection and disaster recovery.
• Integrated Artificial Intelligence: Xcellis can integrate artificial intelligence (AI) capabilities to enable users to extract more value for their assets through the automated creation of metadata. The system can actively interrogate data across multiple axes to uncover events, objects, faces, words and sentiments, automatically generating new, custom metadata that unlocks additional possibilities for the use of stored assets.

Xcellis Scale-out NAS will be generally available this month with entry configurations and those leveraging tiering starting at under $100 per terabyte (raw).

Cloudian HyperFile for object-storage-based NAS

Newly introduced Cloudian HyperFile is an integrated NAS controller that provides SMB/NFS file services from on-premises Cloudian HyperStore object storage systems. Cloudian HyperFile includes targets enterprise network attached storage (NAS) customers, those working in mission-critical, capacity-intensive applications that employ file data. Media and entertainment is one of the main target markets for HyperFile.

Cloudian HyperFile incorporates snapshot, WORM, non-disruptive failover, scale-out performance, POSIX compliance and Active Directory integration. When combined with the limitless scalability of Cloudian HyperStore enterprise storage, organizations gain new on-premises options for managing all of their unstructured data.

Pricing for complete Cloudian HyperFile storage solutions, including on-premises disk-based storage, start at less than 1/2 cent per GB/mo. To simplify implementation, Cloudian HyperFile incorporates a policy-based data migration engine that transfers files to Cloudian from existing NAS systems, or from proprietary systems such as EMC Centera. IT managers select the attributes for files to be migrated and the data movement then proceeds as a background task with no service interruption.

Cloudian HyperFile is available as an appliance or as a virtual machine. The HyperFile appliance is deployed as a node within a Cloudian cluster and includes active-passive nodes for rapid failover, fully redundant hardware for high-availability, and integrated caching for performance.

Cloudian is offering two software versions, HyperFile Basic and HyperFile Enterprise. A HyperFile Basic software license is included with Cloudian HyperStore at no additional charge and includes multi-protocol support, high-availability support and a management feature set. HyperFile Enterprise includes everything in HyperFile Basic, plus Snapshot, WORM, Geo-distribution, Global Namespace and File Versioning.

Pricing for complete on-premises, appliance-based solutions, begins at ½ cent per GB per month. Cloudian HyperFile is available now from Cloudian and from Cloudian reseller partners.

Storage Roundtable

Production, post, visual effects, VR… you can’t do it without a strong infrastructure. This infrastructure must include storage and products that work hand in hand with it.

This year we spoke to a sampling of those providing storage solutions — of all kinds — for media and entertainment, as well as a storage-agnostic company that helps get your large files from point A to point B safely and quickly.

We gathered questions from real-world users — things that they would ask of these product makers if they were sitting across from them.

Quantum’s Keith Lissak
What kind of storage do you offer, and who is the main user of that storage?
We offer a complete storage ecosystem based around our StorNext shared storage and data management solution,including Xcellis high-performance primary storage, Lattus object storage and Scalar archive and cloud. Our customers include broadcasters, production companies, post facilities, animation/VFX studios, NCAA and professional sports teams, ad agencies and Fortune 500 companies.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Xcellis features continuous scalability and can be sized to precisely fit current requirements and scaled to meet future demands simply by adding storage arrays. Capacity and performance can grow independently, and no additional accelerators or controllers are needed to reach petabyte scale.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
We don’t have exact numbers, but a growing number of our customers are using cloud storage. Our FlexTier cloud-access solution can be used with both public (AWS, Microsoft Azure and Google Cloud) and private (StorageGrid, CleverSafe, Scality) storage.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
We offer a range of StorNext 4K Reference Architecture configurations for handling the demanding workflows, including 4K, 8K and VR. Our customers can choose systems with small or large form-factor HDDs, up to an all-flash SSD system with the ability to handle 66 simultaneous 4K streams.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
StorNext systems are OS-agnostic and can work with all Mac, Windows and Linux clients with no discernible difference.

Zerowait’s Rob Robinson
What kind of storage do you offer, and who is the main user of that storage?
Zerowait’s SimplStor storage product line provides storage administrators scalable, flexible and reliable on-site storage needed for their growing storage requirements and workloads. SimplStor’s platform can be configured to work in Linux or Windows environments and we have several customers with multiple petabytes in their data centers. SimplStor systems have been used in VFX production for many years and we also provide solutions for video creation and many other large data environments.

Additionally, Zerowait specializes in NetApp service, support and upgrades, and we have provided many companies in the media and VFX businesses with off-lease transferrable licensed NetApp storage solutions. Zerowait provides storage hardware, engineering and support for customers that need reliable and big storage. Our engineers support customers with private cloud storage and customers that offer public cloud storage on our storage platforms. We do not provide any public cloud services to our customers.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Our customers typically need on-site storage for processing speed and security. We have developed many techniques and monitoring solutions that we have incorporated into our service and hardware platforms. Our SimplStor and NetApp customers need storage infrastructures that scale into the multiple petabytes, and often require GigE, 10GigE or a NetApp FC connectivity solution. For customers that can’t handle the bandwidth constraints of the public Internet to process their workloads, Zerowait has the engineering experience to help our customers get the most of their on-premises storage.

How many of the people buying your solutions are using them with another cloud-based products (i.e. Microsoft Azure)?
Many of our customers use public cloud solutions for their non-proprietary data storage while using our SimplStor and NetApp hardware and support services for their proprietary, business-critical, high-speed and regulatory storage solutions where data security is required.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
SimplStor’s density and scalability make it perfect for use in HD and higher resolution environments. Our SimplStor platform is flexible and we can accommodate customers with special requests based on their unique workloads.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
Zerowait’s NetApp and SimplStor platforms are compatible with both Linux (NFS) and Windows (CIFS) environments. OS X is supported in some applications. Every customer has a unique infrastructure and set of applications they are running. Customers will see differences in performance, but our flexibility allows us to customize a solution to maximize the throughput to meet workflow requirements.

Signiant’s Mike Nash
What kind of storage works with your solution, and who is the main user or users of that storage?
Signiant’s Media Shuttle file transfer solution is storage agnostic, and for nearly 200,000 media pros worldwide it is the primary vehicle for sending and sharing large files. Even though Media Shuttle doesn’t provide storage, and many users think of their data as “in Media Shuttle.” In reality, their files are located in whatever storage their IT department has designated. This might be the company’s own on-premises storage, or it could be their AWS or Microsoft Azure cloud storage tenancy. Our users employ a Media Shuttle portal to send and share files; they don’t have to think about where the files are stored.

How are you making sure your products are scalable so people can grow either their use or the bandwidth of their networks (or both)?
Media Shuttle is delivered as a cloud-native SaaS solution, so it can be up and running immediately for new customers, and it can scale up and down as demand changes. The servers that power the software are managed by our DevOps team and monitored 24×7 — and the infrastructure is auto-scaling and instantly available. Signiant does not charge for bandwidth, so customers can use our solutions with any size pipe at no additional cost. And while Media Shuttle can scale up to support the needs of the largest media companies, the SaaS delivery model also makes it accessible to even the smallest production and post facilities.

How many of the people buying your solutions are using them with cloud storage (i.e. AWS or Microsoft Azure)?
Cloud adoption within the M&E industry remains uneven, so it’s no surprise that we see a mixed picture when we look at the storage choices our customers make. Since we first introduced the cloud storage option, there has been a constant month-over-month growth in the number of customers deploying portals with cloud storage. It’s not yet in parity with on-prem storage, but the growth trends are clear.

On-premises content storage is very far from going away. We see many Media Shuttle customers taking a hybrid approach, with some portals using cloud storage and others using on-prem storage. It’s also interesting to note that when customers do choose cloud storage, we increasingly see them use both AWS and Azure.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
We can move any size of file. As media files continue to get bigger, the value of our solutions continues to rise. Legacy solutions such as FTP, which lack any file acceleration, will grind things to a halt if 4K, 8K, VR and other huge files need to be moved between locations. And consumer-oriented sharing services like Dropbox and Google Drive become non-starters with these types of files.

What platforms do your system connect to (e.g. Mac OS X, Windows, Linux), and what differences might end-users notice when connecting on these different platforms?
Media Shuttle is designed to work with a wide range of platforms. Users simply log in to portals using any web browser. In the background, a native application installed on the user’s personal computer provides the acceleration functionality. This App works with Windows or Mac OSX systems.

On the IT side of things, no installed software is required for portals deployed with cloud storage. To connect Media Shuttle to on-premises storage, the IT team will run Signiant software on a computer in the customer’s network. This server-side software is available for Linux and Windows.

NetApp’s Jason Danielson
What kind of storage do you offer, and who is the main user of that storage?
NetApp has a wide portfolio of storage and data management products and services. We have four fundamentally different storage platforms — block, file, object and converged infrastructure. We use these platforms and our data fabric software to create a myriad of storage solutions that incorporate flash, disk and cloud storage.

1. NetApp E-Series block storage platform is used by leading shared file systems to create robust and high-bandwidth shared production storage systems. Boutique post houses, broadcast news operations and corporate video departments use these solutions for their production tier.
2. NetApp FAS network-attached file storage runs NetApp OnTap. This platform supports many thousands of applications for tens of thousands of customers in virtualized, private cloud and hybrid cloud environments. In media, this platform is designed for extreme random-access performance. It is used for rendering, transcoding, analytics, software development and the Internet-of-things pipelines.
3. NetApp StorageGrid Webscale object store manages content and data for back-up and active archive (or content repository) use cases. It scales to dozens of petabytes, billions of objects and currently 16 sites. Studios and national broadcast networks use this system and are currently moving content from tape robots and archive silos to a more accessible object tier.
4. NetApp SolidFire converged and hyper-converged platforms are used by cloud providers and enterprises running large private clouds for quality-of-service across hundreds to thousands of applications. Global media enterprises appreciate the ease of scaling, simplicity of QOS quota setting and overall maintenance for largest scale deployments.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The four platforms mentioned above scale up and scale out to support well beyond the largest media operations in the world. So our challenge is not scalability for large environments but appropriate sizing for individual environments. We are careful to design storage and data management solutions that are appropriate to media operations’ individual needs.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Seven years ago, NetApp set out on a major initiative to build the data fabric. We are well on the path now with products designed specifically for hybrid cloud (a combination of private cloud and public cloud) workloads. While the uptake in media and entertainment is slower than in other industries, we now have hundreds of customers that use our storage in hybrid cloud workloads, from backup to burst compute.

We help customers wanting to stay cloud-agnostic by using AWS, Microsoft Azure, IBM Cloud, and Google Cloud Platform flexibly and as the project and pricing demands. AWS, Microsoft Azure, IBM, Telsra and ASE along with another hundred or so cloud storage providers include NetApp storage and data management products in their service offerings.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
For higher bandwidth, or bitrate, video production we’ll generally architect a solution with our E-Series storage under either Quantum StorNext or PixitMedia PixStor. Since 2012, when the NetApp E5400 enabled the mainstream adoption of 4K workflows, the E-Series platform has seen three generations of upgrades and the controllers are now more than 4x faster. The chassis has remained the same through these upgrades so some customers have chosen to put the latest controllers into these chassis to improve bandwidth or to utilize faster network interconnect like 16 gigabit fibrechannel. Many post houses continue to use fibrechannel to the workstation for these higher bandwidth video formats while others have chosen to move to Ethernet (40 and 100 Gigabit). As flash (SSDs) continue to drop in price it is starting to be used for video production in all flash arrays or in hybrid configurations. We recently showed our new E570 all flash array supporting NVM Express over Fabrics (NVMe-oF) technology providing 21GB/s of bandwidth and 1 million IOPs with less than 100µs of latency. This technology is initially targeted at super-computing use cases and we will see if it is adopted over the next couple of years for UHD production workloads.

What platforms do your system connect to (Mac OSx, Windows, Linux, etc.), and what differences might end-users notice when connecting on these different platforms?
NetApp maintains a compatibility matrix table that delineates our support of hundreds of client operating systems and networking devices. Specifically, we support Mac OS X, Windows and various Linux distributions. Bandwidth expectations differ between these three operating systems and Ethernet and Fibre Channel connectivity options, but rather than make a blanket statement about these, we prefer to talk with customers about their specific needs and legacy equipment considerations.

G-Technology’s Greg Crosby
What kind of storage do you offer, and who is the main user of that storage?
Western Digital’s G-Technology products provide high-performing and reliable storage solutions for end-to-end creative workflows, from capture and ingest to transfer and shuttle, all the way to editing and final production.

The G-Technology brand supports a wide range of users for both field and in-studio work, with solutions that span a number of portable handheld drives — which are often times used to backup content on-the-go — all the way to in-studio drives that offer capacities up to 144TB. We recognize that each creative has their own unique workflow and some embrace the use of cloud-based products. We are proud to be companions to those cloud services as a central location to store raw content or a conduit to feed cloud features and capabilities.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Our line ranges from small portable and rugged drives to large, multi-bay RAID and NAS solutions, for all aspects of the media and entertainment industry. Integrating the latest interface technology such as USB-C or Thunderbolt 3, our storage solutions will take advantage of the ability to quickly transfer files.

We make it easy to take a ton of storage into the field. The G-Speed Shuttle XL drive is available in capacities up to 96TB, and an optional Pelican case, with handle, is available, making it easy to transport in the field and mitigating any concerns about running out of storage. We recently launched the G-Drive mobile SSD R-Series. This drive is built to withstand a three meter (nine foot) drop, and is able to endure accidental bumps or drops, given that it is a solid-state drive.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Many of our customers are using cloud-based solutions to complement their creative workflows. We find that most of our customers use our solutions as the primary storage or to easily transfer and shuttle their content since the cloud is not an efficient way to move large amounts of data. We see the cloud capabilities as a great way to share project files and low-resolution content, or collaborate with others on projects as well as distribute share a variety of deliverables.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Today’s camera technology enables not only capture at higher resolutions but also higher frame rates with more dynamic imagery. We have solutions that can easily support multi-stream 4K, 8K and VR workflows or multi-layer photo and visual effects projects. G-Technology is well positioned to support these creative workflows as we integrate the latest technologies into our storage solutions. From small portable and rugged SSD drives to high-capacity and fast multi-drive RAID solutions with the latest Thunderbolt 3 and USB-C interface technology we are ready tackle a variety of creative endeavors.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.), and what differences might users notice when connecting on these different platforms?
Our complete portfolio of external storage solutions work for Mac and PC users alike. With native support for Apple Time Machine, these solutions are formatted for Mac OS out of the box, but can be easily reformatted for Windows users. G-Technology also has a number of strategic partners with technology vendors, including Apple, Atomos, Red Camera, Adobe and Intel.

Panasas’ David Sallak
What kind of storage do you offer, and who is the main user of that storage?
Panasas ActiveStor is an enterprise-class easy-to-deploy parallel scale-out NAS (network-attached storage) that combines Flash and SATA storage with a clustered file system accessed via a high-availability client protocol driver with support for standard protocols.

The ActiveStor storage cluster consists of the ActiveStor Director (ASD-100) control engine, the ActiveStor Hybrid (ASH-100) storage enclosure, the PanFS parallel file system, and the DirectFlow parallel data access protocol for Linux and Mac OS.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
ActiveStor is engineered to scale easily. There are no specific architectural limits for how widely the ActiveStor system can scale out, and adding more workloads and more users is accomplished without system downtime. The latest release of ActiveStor can grow either storage or bandwidth needs in an environment that lets metadata responsiveness, data performance and data capacity scale independently.

For example, we quote capacity and performance numbers for a Panasas storage environment containing 200 ActiveStor Hybrid 100 storage node enclosures with 5 ActiveStor Director 100 units for filesystem metadata management. This configuration would result in a single 57PB namespace delivering 360GB/s of aggregate bandwidth with an excess of 2.6M IOPs.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Panasas customers deploy workflows and workloads in ways that are well-suited to consistent on-site performance or availability requirements, while experimenting with remote infrastructure components such as storage and compute provided by cloud vendors. The majority of Panasas customers continue to explore the right ways to leverage cloud-based products in a cost-managed way that avoids surprises.

This means that workflow requirements for file-based storage continue to take precedence when processing real-time video assets, while customers also expect that storage vendors will support the ability to use Panasas in cloud environments where the benefits of a parallel clustered data architecture can exploit the agility of underlying cloud infrastructure without impacting expectations for availability and consistency of performance.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Panasas ActiveStor is engineered to deliver superior application responsiveness via our DirectFlow parallel protocol for applications working in compressed UHD, 4K and higher-resolution media formats. Compared to traditional file-based protocols such as NFS and SMB, DirectFlow provides better granular I/O feedback to applications, resulting in client application performance that aligns well with the compressed UHD, 4K and other extreme-resolution formats.

For uncompressed data, Panasas ActiveStor is designed to support large-scale rendering of these data formats via distributed compute grids such as render farms. The parallel DirectFlow protocol results in better utilization of CPU resources in render nodes when processing frame-based UHD, 4K and higher-resolution formats, resulting in less wall clock time to produce these formats.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
Panasas ActiveStor supports macOS and Linux with our higher-performance DirectFlow parallel client software. We support all client platforms via NFS or SMB as well.

Users would notice that when connecting to Panasas ActiveStor via DirectFlow, the I/O experience is as if users were working with local media files on internal drives, compared to working with shared storage where normal protocol access may result in the slight delay associated with open network protocols.

Facilis’ Jim McKenna
What kind of storage do you offer, and who is the main user of that storage?
We have always focused on shared storage for the facility. It’s high-speed attached storage and good for anyone who’s cutting HD or 4K. Our workflow and management features really make us different than basic network storage. We have attachment to the cloud through software that uses all the latest APIs.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Most of our large customers have been with us for several years, and many started pretty small. Our method of scalability is flexible in that you can decide to simply add expansion drives, add another server, or add a head unit that aggregates multiple servers. Each method increases bandwidth as well as capacity.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Many customers use cloud, either through a corporate gateway or directly uploaded from the server. Many cloud service providers have ways of accessing the file locations from the facility desktops, so they can treat it like another hard drive. Alternatively, we can schedule, index and manage the uploads and downloads through our software.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Facilis is known for our speed. We still support Fibre Channel when everyone else, it seems, has moved completely to Ethernet, because it provides better speeds for intense 4K and beyond workflows. We can handle UHD playback on 10Gb Ethernet, and up to 4K full frame DPX 60p through Fibre Channel on a single server enclosure.

What platforms do your systems connect to (e.g. Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
We have a custom multi-platform shared file system, not NAS (network attached storage). Even though NAS may be compatible with multiple platforms by using multiple sharing methods, permissions and optimization across platforms is not easily manageable. With Facilis, the same volume, shared one way with one set of permissions, looks and acts native to every OS and even shows up as a local hard disk on the desktop. You can’t get any more cross-platform compatible than that.

SwiftStack’s Mario Blandini
What kind of storage do you offer, and who is the main user of that storage?
We offer hybrid cloud storage for media. SwiftStack is 100% software and runs on-premises atop the server hardware you already buy using local capacity and/or capacity in public cloud buckets. Data is stored in cloud-native format, so no need for gateways, which do not scale. Our technology is used by broadcasters for active archive and OTT distribution, digital animators for distributed transcoding and mobile gaming/eSports for massive concurrency among others.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The SwiftStack software architecture separates access, storage and management, where each function can be run together or on separate hardware. Unlike storage hardware with the mix of bandwidth and capacity being fixed to the ports and drives within, SwiftStack makes it easy to scale the access tier for bandwidth independently from capacity in the storage tier by simply adding server nodes on the fly. On the storage side, capacity in public cloud buckets scales and is managed in the same single namespace.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Objectively, use of capacity in public cloud providers like Amazon Web Services and Google Cloud Platform is still “early days” for many users. Customers in media however are on the leading edge of adoption, not only for hybrid cloud extending their on-premises environment to a public cloud, but also using a second source strategy across two public clouds. Two years ago it was less than 10%, today it is approaching 40%, and by 2020 it looks like the 80/20 rule will likely apply. Users actually do not care much how their data is stored, as long as their user experience is as good or better than it was before, and public clouds are great at delivering content to users.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Arguably, larger assets produced by a growing number of cameras and computers have driven the need to store those assets differently than in the past. A petabyte is the new terabyte in media storage. Banks have many IT admins, where media shops have few. SwiftStack has the same consumption experience as public cloud, which is very different than on-premises solutions of the past. Licensing is based on the amount of data managed, not the total capacity deployed, so you pay-as-you-grow. If you save four replicas or use erasure coding for 1.5X overhead, the price is the same.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
The great thing about cloud storage, whether it is on-premises or residing with your favorite IaaS providers like AWS and Google, the interface is HTTP. In other words, every smartphone, tablet, Chromebook and computer has an identical user experience. For classic applications on systems that do not support AWS S3 as an interface, users see the storage as a mount point or folder in their application — either NFS or SMB. The best part, it is a single namespace where data can come in file, get transformed via object, and get read either way, so the user experience does not need to change even though the data is stored in the most modern way.

Dell EMC’s Tom Burns
What kind of storage do you offer, and who is the main user of that storage?
At Dell EMC, we created two storage platforms for the media and entertainment industry: the Isilon scale-out NAS All-Flash, hybrid and archive platform to consolidate and simplify file-based workflows and the Dell EMC Elastic Cloud Storage (ECS), a scalable enterprise-grade private cloud solution that provides extremely high levels of storage efficiency, resiliency and simplicity designed for both traditional and next-generation workloads.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
In the media industry, change is inevitable. That’s why every Isilon system is built to rapidly and simply adapt by allowing the storage system to scale performance and capacity together, or independently, as more space or processing power is required. This allows you to scale your storage easily as your business needs dictate.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Over the past five years, Dell EMC media and entertainment customers have added more than 1.5 exabytes of Isilon and ECS data storage to simplify and accelerate their workflows.

Isilon’s cloud tiering software, CloudPools, provides policy-based automated tiering that lets you seamlessly integrate with cloud solutions as an additional storage tier for the Isilon cluster at your data center. This allows you to address rapid data growth and optimize data center storage resources by using the cloud as a highly economical storage tier with massive storage capacity.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
As technologies that enhance the viewing experience continue to emerge, including higher frame rates and resolutions, uncompressed 4K, UHD, high dynamic range (HDR) and wide color gamut (WCG), underlying storage infrastructures must effectively scale to keep up with expanding performance requirements.

Dell EMC recently launched the sixth generation of the Isilon platform, including our all-flash (F800), which brings the simplicity and scalability of NAS to uncompressed 4K workflows — something that up until now required expensive silos of storage or complex and inefficient push-pull workflows.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc)? And what differences might end-users notice when connecting on these different platforms?
With Dell EMC Isilon, you can streamline your storage infrastructure by consolidating file-based workflows and media assets, eliminating silos of storage. Isilon scale-out NAS includes integrated support for a wide range of industry-standard protocols allowing the major operating systems to connect using the most suitable protocol, for optimum performance and feature support, including Internet Protocols IPv4, and IPv6, NFS, SMB, HTTP, FTP, OpenStack Swift-based Object access for your cloud initiatives and native Hadoop Distributed File System (HDFS).

The ECS software-defined cloud storage platform provides the ability to store, access, and manipulate unstructured data and is compatible with existing Amazon S3, OpenStack Swift APIs, EMC CAS and EMC Atmos APIs.

EditShare’s Lee Griffin
What kind of storage do you offer, and who is the main user of that storage?
Our storage platforms are tailored for collaborative media workflows and post production. It combines the advanced EFS (that’s EditShare File System, in short) distributed file system with intelligent load balancing. It’s a scalable, fault-tolerant architecture that offers cost-effective connectivity. Within our shared storage platforms, we have a unique take on current cloud workflows, with current security and reliability of cloud-based technology prohibiting full migration to cloud storage for production, EditShare AirFlow uses EFS on-premise storage to provide secure access to media from anywhere in the world with a basic Internet connection. Our main users are creative post houses, broadcasters and large corporate companies.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Recently, we upgraded all our platforms to EFS and introduced two new single-node platforms, the EFS 200 and 300. These single-node platforms allow users to grow their storage whilst keeping a single namespace which eliminates management of multiple storage volumes. It enables them to better plan for the future, when their facility requires more storage and bandwidth, they can simply add another node.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
No production is in one location, so the ability to move media securely and back up is still a high priority to our clients. From our Flow media asset management and via our automation module, we offer clients the option to backup their valuable content to places like Amazon S3 servers.

How does your system handle UHD, 4K and other higher-than HD resolutions?
We have many clients working with UHD content who are supplying programming content to broadcasters, film distributors and online subscription media providers. Our solutions are designed to work effortlessly with high data rate content, enabling the bandwidth to expand with the addition of more EFS nodes to the intelligent storage pool. So, our system is ready and working now for 4K content and is future proof for even higher data rates in the future.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
EditShare supplies native client EFS drivers to all three platforms, allowing clients to pick and choose which platform they want to work on. If it is an Autodesk Flame for VFX, a Resolve for grading or our own Lightworks for editing on Linux, we don’t mind. In fact, EFS offers a considerable bandwidth improvement when using our EFS drivers over existing AFP and SMB protocol. Improved bandwidth and speed to all three platforms makes for happy clients!

And there are no differences when clients connect. We work with all three platforms the same way, offering a unified workflow to all creative machines, whether on Mac, Windows or PC.

Scale Logic’s Bob Herzan
What kind of storage do you offer, and who is the main user of that storage?
Scale Logic has developed an ecosystem (Genesis Platform) that includes servers, networking, metadata controllers, single and dual-controller RAID products and purpose-built appliances.

We have three different file systems that allow us to use the storage mentioned above to build SAN, NAS, scale-out NAS, object storage and gateways for private and public cloud. We use a combination of disk, tape and Flash technology to build our tiers of storage that allows us to manage media content efficiently with the ability to scale seamlessly as our customers’ requirements change over time.

We work with customers that range from small to enterprise and everything in between. We have a global customer base that includes broadcasters, post production, VFX, corporate, sports and house of worship.

In addition to the Genesis Platform we have also certified three other tier 1 storage vendors to work under our HyperMDC SAN and scale-out NAS metadata controller (HPE, HDS and NetApp). These partnerships complete our ability to consult with any type of customer looking to deploy a media-centric workflow.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Great questions and it’s actually built into the name and culture of our company. When we bring a solution to market it has to scale seamlessly and it needs to be logical when taking the customer’s environment into consideration. We focus on being able to start small but scale any system into a high-availability solution with limited to no downtime. Our solutions can scale independently if clients are looking to add capacity, performance or redundancy.

For example, a customer looking to move to 4K uncompressed workflows could add a Genesis Unlimited as a new workspace focused on the 4K workflow, keeping all existing infrastructure in place alongside it, avoiding major adjustments to their facility’s workflow. As more and more projects move to 4K, the Unlimited can scale capacity, performance and the needed HA requirements with zero downtime.

Customers can then start to migrate their content from their legacy storage over to Unlimited and then repurpose their legacy storage onto the HyperFS file system as second tier storage.Finally, once we have moved the legacy storage onto the new file system we also are more than happy to bring the legacy storage and networking hardware under our global support agreements.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Cloud continues to be ramping up for our industry, and we have many customers using cloud solutions for various aspects of their workflow. As it pertains to content creation, manipulation and long-term archive, we have not seen much adoption with our customer base. The economics just do not support the level of performance or capacity our clients demand.

However, private cloud or cloud-like configurations are becoming more mainstream for our larger customers. Working with on-premise storage while having DR (disaster recovery) replication offsite continues to be the best solution at this point for most of our clients.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Our solutions are built not only for the current resolutions but completely scalable to go beyond them. Many of our HD customers are now putting in UHD and 4K workspaces on the same equipment we installed three years ago. In addition to 4K we have been working with several companies in Asia that have been using our HyperFS file system and Genesis HyperMDC to build 8K workflows for the Olympics.

We have a number of solutions designed to meet our customer’s requirements. Some are done with spinning disk, others with all flash, and then even more that want a hybrid approach to seamlessly combine the technologies.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
All of our solutions are designed to support Windows, Linux, and Mac OS. However, how they support the various operating systems is based on the protocol (block or file) we are designing for the facility. If we are building a SAN that is strictly going to be block level access (8/16/32 Gbps Fibre Channel or 1/10/25/40/100 Gbps iSCSI, we would use our HyperFS file system and universal client drivers across all operating systems. If our clients also are looking for network protocols in addition to the block level clients we can support jSMB and NFS but allow access to block and file folders and files at the same time.

For customers that are not looking for block level access, we would then focus our design work around our Genesis NX or ZX product line. Both of these solutions are based on a NAS operating system and simply present themselves with the appropriate protocol over 1/10/25/40 or 100Gb. Genesis ZX solution is actually a software-defined clustered NAS with enterprise feature sets such as unlimited snapshots, metro clustering, thin provisioning and will scale up over 5 Petabytes.

Sonnet Technologies‘ Greg LaPorte
What kind of storage do you offer, and who is the main user of that storage?
We offer a portable, bus-powered Thunderbolt 3 SSD storage device that fits in your hand. Primary users of this product include video editors and DITs who need a “scratch drive” fast enough to support editing 4K video at 60fps while on location or traveling.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The Fusion Thunderbolt 3 PCIe Flash Drive is currently available with 1TB capacity. With data transfer of up to 2,600 MB/s supported, most users will not run out of bandwidth when using this device.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
Computers with Thunderbolt 3 ports running either macOS Sierra or High Sierra, or Windows 10 are supported. The drive may be formatted to suit the user’s needs, with either an OS-specific format such as HFS+, or cross-platform format such as exFAT.

Post Supervisor: Planning an approach to storage solutions

By Lance Holte

Like virtually everything in post production, storage is an ever-changing technology. Camera resolutions and media bitrates are constantly growing, requiring higher storage bitrates and capacities. Productions are increasingly becoming more mobile, demanding storage solutions that can live in an equally mobile environment. Yesterday’s 4K cameras are being replaced by 8K cameras, and the trend does not look to be slowing down.

Yet, at the same time, productions still vary greatly in size, budget, workflow and schedule, which has necessitated more storage options for post production every year. As a post production supervisor, when deciding on a storage solution for a project or set of projects, I always try to have answers to a number of workflow questions.

Let’s start at the beginning with production questions.

What type of video compression is production planning on recording?
Obviously, more storage will be required if the project is recording to Arriraw rather than H.264.

What camera resolution and frame rate?
Once you know the bitrate from the video compression specs, you can calculate the data size on a per-hour basis. If you don’t feel like sitting down with a calculator or spreadsheet for a few minutes, there are numerous online data size calculators, but I particularly like AJA’s DataCalc application, which has tons of presets for cameras and video and audio formats.

How many cameras and how many hours per day is each camera likely to be recording?
Data size per hour, multiplied by hours per day, multiplied by shoot days, multiplied by number of cameras gives a total estimate of the storage required for the shoot. I usually add 10-20% to this estimate to be safe.

Let’s move on to post questions…

Is it an online/offline workflow?
The simplicity of editing online is awesome, and I’m holding out for the day when all projects can be edited with online media. In the meantime, most larger projects require online/offline editorial, so keep in mind the extra storage space for offline editorial proxies. The upside is that raw camera files can be stored on slower, more affordable (even archival) storage through editorial until the online process begins.

On numerous shows I’ve elected to keep the raw camera files on portable external RAID arrays (cloned and stored in different locations for safety) until picture lock. G-Tech, LaCie, OWC and Western Digital all make 48+ TB external arrays on which I’ve stored raw median urging editorial. When you start the online process, copy the necessary media over to your faster online or grading/finishing storage, and finish the project with only the raw files that are used in the locked cut.

How much editorial staff needs to be working on the project simultaneously?
On smaller projects that only require an editorial staff of two or three people who need to access the media at the same time, you may be able to get away with the editors and assistants network sharing a storage array, and working in different projects. I’ve done numerous smaller projects in which a couple editors connected to an external RAID (I’ve had great success with Proavio and QNAP arrays), which is plugged into one workstation and shares over the network. Of course, the network must have enough bandwidth for both machines to play back the media from the storage array, but that’s the case for any shared storage system.

For larger projects that employ five, 10 or more editors and staff, storage that is designed for team sharing is almost a certain requirement. Avid has opened up integrated shared storage to outside storage vendors the past few years, but Avid’s Nexis solution still remains an excellent option. Aside from providing a solid solution for Media Composer and Symphony, Nexis can also be used with basically any other NLE, ranging from Adobe Premiere Pro to Blackmagic DaVinci Resolve to Final Cut Pro and others. The project sharing abilities within the NLEs vary depending on the application, but the clear trend is moving toward multiple editors and post production personnel working simultaneously in the same project.

Does editorial need to be mobile?
Increasingly, editorial is tending to begin near the start of physical production and this can necessitate the need for editors to be on or near set. This is a pretty simple question to answer but it is worth keeping in mind so that a shoot doesn’t end up without enough storage in a place where additional storage isn’t easily available — or the power requirements can’t be met. It’s also a good moment to plan simple things like the number of shuttle or transfer drives that may be needed to ship media back to home base.

Does the project need to be compartmentalized?
For example, should proxy media be on a separate volume or workspace from the raw media/VFX/music/etc.? Compartmentalization is good. It’s safe. Accidents happen, and it’s a pain if someone accidentally deletes everything on the VFX volume or workspace on the editorial storage array. But it can be catastrophic if everything is stored in the same place and they delete all the VFX, graphics, audio, proxy media, raw media, projects and exports.

Split up the project onto separate volumes, and only give write access to the necessary parties. The bigger the project and team, the bigger the risk for accidents, so err on the side of safety when planning storage organization.

Finally, we move to finishing, delivery and archive questions…

Will the project color and mix in-house? What are the delivery requirements? Resolution? Delivery format? Media and other files?
Color grading and finishing often require the fastest storage speeds of the whole pipeline. By this point, the project should be conformed back to the camera media, and the colorist is often working with high bitrate, high-resolution raw media or DPX sequences, EXRs or other heavy file types. (Of course, there are as many workflows as there are projects, many of which can be very light, but let’s consider the trend toward 4K-plus and the fact that raw media generally isn’t getting lighter.) On the bright side, while grading and finishing arrays need to be fast, they don’t need to be huge, since they won’t house all the raw media or editorial media — only what is used in the final cut.

I’m a fan of using an attached SAS or Thunderbolt array, which is capable of providing high bandwidth to one or two workstations. Anything over 20TB shouldn’t be necessary, since the media will be removed and archived as soon as the project is complete, ready for the next project. Arrays like Areca ARC-5028T2 or Proavio EB800MS give read speeds of 2000+ MB/s,which can play back 4K DPXs in real time.

How should the project be archived?
There are a few follow-up questions to this one, like: Will the project need to be accessed with short notice in the future? LTO is a great long-term archival solution, but pulling large amounts of media off LTO tape isn’t exactly quick. For projects that I suspect will be reopened in the near future, I try to keep an external hard drive or RAID with the necessary media onsite. Sometimes it isn’t possible to keep all of the raw media onsite and quickly accessible, so keeping the editorial media and projects onsite is a good compromise. Offsite, in a controlled, safe, secure location, LTO-6 tapes house a copy of every file used on the project.

Post production technology changes with the blink of an eye, and storage is no exception. Once these questions have been answered, if you are spending any serious amount of money, get an opinion from someone who is intimately familiar with the cutting edge of post production storage. Emphasis on the “post production” part of that sentence, because video I/O is not the same as, say, a bank with the same storage size requirements. The more money devoted to your storage solutions, the more opinions you should seek. Not all storage is created equal, so be 100% positive that the storage you select is optimal for the project’s particular workflow and technical requirements.

There is more than one good storage solution for any workflow, but the first step is always answering as many storage- and workflow-related questions as possible to start taking steps down the right path. Storage decisions are perhaps one of the most complex technical parts of the post process, but like the rest of filmmaking, an exhaustive, thoughtful, and collaborative approach will almost always point in the right direction.

Main Image: G-Tech, QNAP, Avid and Western Digital all make a variety of storage solutions for large and small-scale post production workflows.


Lance Holte is an LA-based post production supervisor and producer. He has spoken and taught at such events as NAB, SMPTE, SIGGRAPH and Createasphere. You can email him at lance@lanceholte.com.

What you should ask when searching for storage

Looking to add storage to your post studio? Who isn’t these days? Jonathan Abrams, chief technical officer at New York City’s Nutmeg Creative was kind enough to put together a list that can help all in their quest for the storage solution that best fits their needs.

Here are some questions that customers should ask a storage manufacturer.

What is your stream count at RAID-6?
The storage manufacturer should have stream count specifications available for both Avid DNx and Apple ProRes at varying frame rates and raster sizes. Use this information to help determine which product best fits your environment.

How do I connect my clients to your storage?  
Gigabit Ethernet (copper)? 10 Gigabit Ethernet (50-micron Fiber)? Fiber Channel (FC)? These are listed in ascending order of cost and performance. Combined with the answer to the question above, this narrows down which product a storage manufacturer has that fits your environment.

Can I use whichever network switch I want to and know that it will work, or must I be using a particular model in order for you to be able to support my configuration and guarantee a baseline of performance?
If you are using a Mac with Thunderbolt ports, then you will need a network adapter, such as a Promise SANLink2 10G SFP+ for your shared storage connection. Also ask, “Can I use any Thunderbolt network adapter, or must I be using a particular model in order for you to be able to support my configuration and guarantee a baseline of performance?”

If you are an Avid Media Composer user, ask, “Does your storage present itself to Media Composer as if it was Avid shared storage?”
This will allow the first person who opens a Media Composer project to obtain a lock on a bin.  Other clients can open the same project, though they will not have write access to said bin.

What is covered by support? 
Make certain that both the hardware (chassis and everything inside of it) and the software (client and server) are covered by support. This includes major version upgrades to the server and client software (i.e. v.11 to v.12). You do not want your storage manufacturer to announce a new software version at NAB 2018 and then find out that it’s not covered by your support contract. That upgrade is a separate cost.

For how many years will you be able to replace all of the hardware parts?
Will the storage manufacturer replace any part within three years of your purchase, provided that you have an active support contract? Will they charge you less for support if they cannot replace failed components during that year’s support contract? The variation of this question is, “What is your business model?” If the storage manufacturer will only guarantee availability of all components for three years, then their business model is based upon you buying another server from them in three years. Are you prepared to be locked into that upgrade cycle?

Are you using custom components that I cannot source elsewhere?
If you continue using your storage beyond the date when the manufacturer can replace a failed part, is the failed part a custom part that was only sold to the manufacturer of your storage? Is the failed part one that you may be able to find used or refurbished and swap out yourself?

What is the penalty for not renewing support? Can I purchase support incidents on an as-needed basis?
How many as-needed event purchases equate to you realizing, “We should have renewed support instead.” If you cannot purchase support on an as-needed basis, then you need to ask what the penalty for reinstating support is. This information helps you determine what your risk tolerance is and whether or not there is a date in the future when you can say, “We did not incur a financial loss with that risk.”

Main Image:  Nutmeg Creative’s Jonathan Abrams with the company’s 80 TB of EditShare storage and two spare drive.  Photo Credit:  Larry Closs