Issue link: http://digital.copcomm.com/i/44580
SPECIAL REPORT [ Cont.from 40 ] FIGURE 3. PROJECTIONS FOR POST PRODUCTION SHARED AND DIRECT ATTACHED STORAGE 1,600,000 1,400,000 1,200,000 1,000,000 800,000 600,000 400,000 200,000 0 2008 NLE Networked Capacity (TB) NLE Local Capacity (TB) 140,000 313,220 2009 163,097 334,700 2010 190,257 359,195 archiving a Petabyte (PB) of digital content for 20 years is in the first year (the initial storage equipment purchase). As the figure shows, if we assume a stor- age equipment refresh every five years the cost of storing the PB after 20 years is only a few thousand dollars a year for HDD array storage and close to $1,000 per year for tape. As a consequence of lower costs for capturing, production and post produc- tion and finally archiving content, we expect about a 2.4 times increase in the archived content produced in profes- sional digital media and entertainment per year between 2011 and 2016 with about 830PB of new content projected to be archived in 2016. Having such a repository of rich con- tent will help feed the growing tail of content available to consumers and enables new monetization methods for content creators and content owners. Clearly making, keeping and, for that mat- 2011 224,409 388,669 2012 270,020 432,308 2013 340,204 493,230 2014 431,857 556,645 2015 564,326 613,073 2016 751,929 661,123 ter, distributing that content will be a big user of digital storage capacity, network bandwidth as well as processing power. SOURCES The material published here is extracted from the 2011 Digital Storage for Media and Entertainment Report from Coughlin Associates. The 160-page report includes 78 figures and 55 tables and covers digital storage for all aspects of professional video capture and cre- ation, editing and post production, con- tent distribution, analog-to-digital con- version as well as archiving and preserva- tion. This report is available from Cough- lin Associates. More information and order forms for the report are available at: http://www.tomcoughlin.com/Techpa- pers/2011%20M&E%20Storage%20 Report%20Brochure,%20051611.pdf. Tom Coughlin is a storage analyst and consultant. FIGURE 4. TOTAL COSTS FOR STORING 1PB OF CONTENT FOR 20 YEARS WITH FIVE-YEAR EQUIPMENT REFRESHES $1,000,000 $100,000 $10,000 [ Cont.from 17 ] "PUSS IN BOOTS" I'm half way there. I can modify those sounds." POST: You work out of Warner Bros — what tools are you using there, and what did you use when recording sounds? KING: "We recorded either directly into Pro Tools or on Sound Devices hard drive recorders using a variety of mics, including a Neumann 191 that I used for the wagons. I also used DPA and SAS mics to capture low-end rumple. "I used Logic and Kontakt as my main sound design tools, and editing and doing further manipulation in Pro Tools V.9. Everything is on Pro Tools — ADR, Foley — everything. We are mixing at Fox, and as most places in town are now, we are record- ing to Pro Tools recorders." www.postmagazine.com Post • October 2011 47 HDD Tape [ Cont.from 27 ] DELIVERABLES storage and LTO-5 or even HDCAM SR offline storage. This tiered model allows content to be "quickly retrieved and back online for additional distribution at a later date," says Cummings. FotoKem has provided work for the feature Contagion and television's Homeland, New Girl, Californication and Necessary Roughness. MEMPHIS GRIZZLIES In the broadcast department of the NBA's Memphis Grizzlies (www.grizzlies. com), the need to produce multiple deliv- erables from assets is constantly increas- ing, according to director of broadcast operations Brett Smith. The department is responsible for producing content for in-arena shows, creating TV spots, pro- ducing features and special coverage for the team's regional sports telecasts, pack- aging presentations for the sales and marketing group, and supplying all video content for the Grizzlies' Websites. Source and distribution formats run the gamut. Original content is acquired in 720p while highlights and feature feeds from the NBA come in as 1080i MPEG- 2 files. Broadcast distribution is XDCAM HD, but in-arena displays are SD and then there's Web content. Smith and his five colleagues, two of whom are pro- ducer/editors, have their hands full. Despite those challenges, the process is surprisingly pain-free thanks to an Amber- Fin iCR system. The department originally turned to AmberFin when it was looking to transcode to its Avid Symphony and Nitris DS systems, and now an AmberFin iCR is the hub of its workflow, used for ingest, transcoding, review, SD-to-HD upconverts and soon lay off to archive. Smith likes the ability to set up watch folders, which enable any files loading in the folders to automatically be output to a pre-determined file format. "You can have one for DNxHD, one for the Web, one for SD," he says. "There's no need to go back in and reset parameters and work with individual files over and over again." During basketball season the depart- ment reviews low-resolution NBA game footage nightly and selects clips for possi- ble use in future deliverables. "We choose highlights from a particular game and the NBA network then downloads them to our server. The location is actually an AmberFin watch folder, which automati- cally outputs the file formats needed and sends an e-mail when the job is done. By the time our editors come back in the next day, everything is done and waiting for them." The system also speeds up the process of delivering post-game locker room interviews for the NBA Website. "We get an HD feed from the truck that goes directly to AmberFin. By the time the feed is finished encoding, it has already started uploading to the Website. We can complete eight interviews in under two hours," Smith notes. He credits the system's ability to pre- build templates for AmberFin iCR to the specs of the end user or platform — 1080i MPEG-2, DNxHD, XDCAM and more. "I can grab an NBA 1080i MPEG-2 file and if I want it to become a DNxHD file or an XDCAM file I simply use the template I prebuilt," he explains. "The system doesn't care what file format it ingests. It just wants to know what you need to output." Smith is impressed by the system's handling of slo-mo footage — something that's ubiquitous in sports. "It's less jittery than with other systems I've seen," he says. "Our producer/editors are really quality oriented, and they had constantly com- plained about the look of slo-mo on the Internet. Now, they're really happy with it." AmberFin iCR has proved to be invalu- able to the Grizzlies' broadcast depart- ment. "It's been like having a couple more employees," says Smith. "It reduces our production time; frees our producer/edi- tors to produce and edit; works seam- lessly with our existing Avid editing, stor- age and sports production workflow; and reduces the content-to-Web lag time we experienced in the past." Annual Estimated Cost for 1PB Total Capacity (TB) 2011 2013 2015 2017 2019 2021 2023 2025 2027 2029