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When you want to scale your video production capabilities, people first think about buying another camera. But for many teams, the bottleneck isn’t in production; it exists in post-production. However, storage for video assets falls into a strange in-between category for many organizations. It feels like an extension of video production, but camera experts usually aren’t IT experts. Seasoned IT pros are often slow to discover that the needs for video editing are fundamentally different from your typical workgroup.
The experts in the storage needs for video teams often arise from technically-minded video editors and post-production experts. This is because they had to figure out the challenges for themselves and explain the difficulties of post-production to their bosses and the IT staff. That’s my story, at least. Over the past few months, I’ve observed several cases where teams are willing to invest in expensive cameras and lenses but shy away from investing in the necessary post-production infrastructure to truly break the log jams in their workflow.
I found that an efficient post-production shared solution is the best foundation you can give to your team. It lets you keep all your most relevant footage at your fingertips. It provides the ability for quick collaboration between editors and motion graphics designers, and it enables you to scale. So, if you want to lay a foundation for real growth, let’s dig into how digital media production can quickly scale.
If you’ve ever found yourself grabbing a hard drive off a shelf and passing it in between team members, only to run back over to the shelf to find the right drive, you’ve used the “sneakernet” to manage your projects. This process is fraught with difficulties, and you always have the sinking feeling, “I think I still have that footage.”
A shared storage solution keeps your most relevant assets “online” instead of “offline.” It connects to multiple workstations at the same time as well. This means that as you scale your production capability, editors and motion graphics artists have immediate access to all their work instead of having to hunt down a drive. Additionally, editors can access the same footage simultaneously since the shared storage is accessible to everyone. Finally, you don’t have to worry about wasting space by duplicating the same footage on multiple computers. Freeing yourself from the sneakernet is reason enough to deploy scalable storage like EditShare EFS.
When it becomes evident that a video team needs a server for their footage, inevitably, somebody from IT pulls up a webpage from Dell or HP and starts to calculate the costs. This is the decision moment. If we were in a movie, this moment is the equivalent of the villain’s entrance. I’m serious. If this moment isn’t handled well, a video team can get saddled with an underperforming server solution that is worse than Sneakernet.
Consider the difference between an interstate and a main street downtown. Shared storage for media allows for sustained, smooth playback of raw video files, like an interstate. Normal servers are designed more like the traffic signals of a downtown, allowing for lots of little pieces of data to come and go. But if you have ever been stuck in traffic, looked over to a carpool lane, and seen cars zooming by, you have a good indication of the difference between a normal server and a shared storage solution. Video production storage allows for multiple video files to be played from the server to multiple workstations without interruption, and you can think of these files as big semi-trucks. These trucks need protected lanes to be able to go fast and move without hitting the breaks
If you can help your IT team understand this fundamental distinction in “traffic,” you can turn them into your biggest supporters. Why? Practically speaking, if they master this new area of IT for media, they will become more valuable to their organization, and their career will take on a level of specialization.
So why not optimize a generic server for “interstate highway mode?” Editors not only need the bandwidth for sustained “reads” of data, but they also need to write to project files on the server. Those project files require fast write speeds. If video files are like semi-trucks, project files are like mini coopers. This means that the shared storage solution has to be optimized for two ends of the spectrum, sustained reads and fast writes, while handling the different kinds of traffic going to and from the server. Video files aren’t PDFs.
I believe that if a video team can communicate this metaphor well, it can vault them into new levels of productivity. Video teams and IT teams can then collaborate effectively and understand each other’s needs much better.
When we talked about sneakernet, we learned about the difference between offline and online data. But what about footage that you need to access occasionally? We call this storage “nearline.” It doesn’t need to be on your high-performance storage, but it doesn’t belong on the shelf.
You can save money when building your shared storage solution by identifying a specific capacity for your “online” or “active” storage. You might want this storage to be on SSDs or NVMe drives. These solid-state drives are lightning quick and work exceptionally well with high-resolution 4K, 8K, and VFX files. While this storage is quick, it is also the most expensive. (Some of that cost is offset by the fact that these drives use less power) Remote users can access an EditShare EFS volume with Swift Link, delivering remote performance that used to be available only in-house.
If your most accessed files live in your online storage, place your infrequently accessed files on your nearline storage. This unit typically uses mechanical spinning disk hard drives. They work together in a configuration to ensure that you won’t lose your data if one, or even two, of them fail. This configuration is called a RAID configuration. A nearline storage unit with a group of hard drives won’t be as fast as your active storage, but it will be cost-effective. And if you have an intense project, you can always move data between your nearline and active storage.
At a certain point, you can determine that you probably won’t be going back to the original footage for a project. But you don’t want to delete it all. This means your project is ready to move from nearline storage to cold storage. Some organizations may upload footage to the cloud or archive it on LTO tape.
I recently had to pull footage from Google Drive. My former team used Google Drive as cold storage. Man, was this a mistake! When you download large amounts of data from Google Drive it rearranges the folder hierarchy and appends suffixes to the file names. What a headache! I spent hours reconstructing the file structure of the REDCODE RAW files. I had to delete the suffixes that Google Drive appended on hundreds of files.
A much better approach to cold storage would have been to use LTO tape with a solution like Editshare ARK. This approach does take your files offline, but it also keeps track of those LTO tapes so you can know what is online, what is offline, and where to find what you need.
Having a place to put your data doesn’t necessarily mean people can easily find what they need. Many teams use their senior editor’s brain as an “index” for project files. A much better solution is to have software do that for you. A media asset manager is an application that organizes your footage and lets anyone find what they need without Slacking the senior editor again. Editshare FLOW works with your shared storage to keep track of all your assets. Those could be online or offline. It will track data in your active, nearline, and cold storage. EditShare FLOW becomes the brain for your entire post-production operation.
Editors want to spend time in their NLE, not in the media asset manager. Editors want to edit. That’s why integration with editing apps (Known as NLEs, non-linear editing applications) is critical. EditShare provides panels in both Adobe Premiere Pro and Blackmagic DaVinci Resolve. These panels allow you to spend more time in your NLE so that you aren’t leaving your native environment. If you use a different NLE, EditShare is still perfectly compatible with any NLE (but Premiere and Resolve getting in-app panels sure is nice).
Post-production can feel like its own little world. It doesn’t have to be that. EditShare EFS now integrates with MediaSilo. An integration resulting in an end-to-end workflow. When you are shooting, Atomos recorders will deliver your footage right to the cloud via MediaSilo when you are shooting. Then your project can go through post on EFS and then get securely delivered to outside stakeholders via MediaSilo. This is an unprecedented level of integration and security from script to screen.
Deploying an EditShare EFS shared storage solution will revolutionize your post-production workflow, solve problems for your team, and deliver the foundation for scale. Reach out to an EditShare rep today to learn more.
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