Issue link: https://digital.copcomm.com/i/1530454
www.postmagazine.com 26 POST NOV/DEC 2024 WORKFLOW his year was marked by evolutions in cloud and IP technologies, driv- en by demand for faster turnaround work- flows. Predictably, creative teams and facilities were asked to do more with less, and, as a result, many began exploring IP. What has become clear is that the ability to move uncompressed, high-bandwidth media in and out of equipment across an IP network with low latency is an import- ant piece of the larger IP infrastructure puzzle. Fortunately, the recent arrival of more cost-efficient SMPTE ST 2110-capa- ble network hardware and new audio and video I/O IP technology has helped to streamline the path to IP. Just because IP is catching on, how- ever, doesn't mean that SDI (serial digital interface) is going away. While we expect to see many new facilities embrace all-IP infrastructures, others will take a more phased approach. In 2024, we've already seen many facilities develop IP sandbox- es or hybrid SDI/IP environments, each unique. Whereas some facilities favored NDI implementations, we saw renewed interest in SMPTE ST 2110. But why? First, SMPTE ST 2110 is more acces- sible than ever, partly because the cost of IP network switches significantly dropped in 2024. Second, SMPTE ST 2110 lets facilities achieve the same uncom- pressed video quality they get with an SDI network on an IP network, but with enhanced scalability. Finally, more SMPTE ST 2110 training and educational materi- als were released, helping to expand the available talent pool of engineers who understand the approach. For facilities to realize the full benefits of SMPTE ST 2110, post teams must be able to ingest high-bandwidth media into post, color or graphics suites across a network, with control over when and how it arrives. With technology like AJA's new Kona IP25 SMPTE ST 2110 I/O card, that's become easier. Kona IP25 lets teams quickly and easily pull up foot- age on a workstation for playback and editing, graphics insertion and/or a final composition. The card is one of many SMPTE ST 2110 innovations to hit the market this year, and we anticipate more to follow in 2025. Even if SMPTE ST 2110 isn't the right fit for your facility's needs today, 2025 is the year to get up to speed on all the available IP standards and protocols, and determine which might be best suited for your future roadmap. As you do, think about the quality of media your facility needs to support and your budget, as both will impact the approach you take. Evaluate your pipeline needs, and where you're planning to switch out legacy gear, consider adding a few IP devices. If you're opting for a hybrid approach, be sure to factor in any gateway devices you'll need. And don't underestimate your scalability needs. Finally, be sure you have the right team of IT engineers who can learn video, or video engineers who can learn IT fast. Taking all these considerations into account will ensure a smoother IP transition, whether going all-in or hybrid. AJA specializes in capture cards, dig- ital recording devices, video routers, frame synchronizers, scalers and digital converters. I.P. ADOPTION ON THE RISE BY ABE ABT SR. PRODUCT CONSULTANT AJA VIDEO SYSTEMS WWW.AJA.COM T OUTLOOK loud storage for active and work- ing media used to be a non-start- er in the world of post production. Historically, these assets were just too large to move smoothly through insuffi- cient internet speeds, and the tech just wasn't up-to-snuff to make the content readily accessible. Even today, while sync solutions like Dropbox still tend to be a popular choice amongst post teams, syncing just doesn't cut it. If you've ever worked on a multi-terabyte project with a "sync" solution, you know what I'm talking about. Today, internet speeds and connec- tivity are sufficient to support remote editing, and are readily improving. Meanwhile, the technology to support remote post production now exists. Suite's cloud storage provides real- time access to media without the need to sync data locally before working, making it possible to confidently offer remote post production without the wait. What used to only be possible with everyone under the same roof is now possible for every hybrid and remote team, no matter how many people are involved or how far away a collaborator might live. Suite's cloud storage looks and feels familiar to teams. It works the same as any mounted drive, which ultimately gets creatives back to their work faster without dealing with the usual headaches of working from the cloud. For project leads and supervisors too, remote oversight of team mem- bers and permissions also extends that "in-house" feel, offering realtime data control from anywhere. Post production is entering a new generation, and Suite is at the forefront of transition, offering the ability for teams to work in ways that just weren't possible before. But the influence of the cloud on post production doesn't stop with active storage. The most for- ward-thinking teams are building end- to-end workflows entirely on the cloud, with the savviest studios choosing Suite to store and edit active media, using cloud compute for edit workstations and rendering, and implementing cloud- based archival solutions and media asset managers to easily manage content libraries. The media industry is moving faster than ever, with tighter timelines and higher expectations on the final product. Slowdown, hiccups, lost files and time wasted are all missed opportunities. Working efficiently, and thus empower- ing creativity, is the only way to forward. There's little need to fill a closet full of hard drives anymore, so will your studio be ready for the shift? Based in Boulder, CO, Suite specializes in creating cloud-based editing workflows for the media & entertainment industry. STORAGE BY JAY MAXWELL CO-FOUNDER & CPO SUITE STUDIOS WWW.SUITESTUDIOS.IO A SHIFT TOWARD END-TO-END CLOUD WORKFLOWS C