future-proofing your digital media storage

Future-Proofing Your Digital Media Storage

Tom CoughlinCoughlin Associates

Imation Webinar Series

Nexsan — 7/17/14

Digital Storage Supports Modern Media Workflows--

Tom CoughlinPresident

Coughlin Associates

© 2014 Coughlin Associates 2


Outline

• Media and Entertainment = Lots of Bytes• Content Capture and Post Production• Storage Technologies and Content Distribution• Archiving and Preservation• Conclusions• Sources


M&E = Lots of Bytes

Richer Images = More Storage• Frame rates for movie content are

increasing from the historical 24 frames per second (fsp) to 48 or 60 fps and may eventually be as high as 300 fps

• Cameras are now available that can support 200 fps (even up to 3,000 fps)

• 4K production is commonplace but 6K and even 8K production starting in professional video projects

• Video resolutions of 16K and even higher are contemplated in the future (higher res capture = future proofing)

5© 2014 Coughlin Associates

New Views• KDDI and some European

players have performed “free viewpoint” demonstrations with content captured using 4-30 4K video cameras

• Light-field imaging could allow even more immersive 2D and 3D video (greater image depth possible, at least 3X more storage

• This is in addition to conventional high dynamic range (HDR) images and greater color depth

Lytro Light-field Camera

Free View Point Video


How Long Until Exabyte Video?

• A calculation shows that 16,000 X 8,000 pixel resolution, 24 bits/pixel, 300 fps raw video content could require 115 GB/s data rates and 414 TB/hour. If this was full stereoscopic capture then these requirements would double. If 4 cameras were used to create data for a “free viewpoint” presentation, the raw data would be 1.66 PB for an hour of content

• Within 10 years we could have pro-video projects generating close to an exabyte of data


Virtual Reality: Making A Holodeck• Free floating

holographic and other advanced display technologies—within the next 10 years we could approach a display allowing you to move within the action—leading to holodeck-like experiences

From Wired Magazine



Content Capture and Post Production


Example resolution, data rates and storage capacity requirements for professional media standards


Digital entertainment content workflow (after BlueArc/HDS chart).

Profession video camera media


2014 Digital Storage in Media and Entertainment Report, Coughlin Associates, www.tomcoughlin.com/techpapers

Sony CineAlt

F65 “8K” Camera

ARRI Alexa Camera

NHK 8K Camera

For-A Super Slo Mo Camera

1,000 fps!


Content shot for an hour of completed work

Professional NLE model system

• 87.7% had DAS (compared to 87.3% in 2013)– Over 86.5% of these had more than 1 TB of DAS (compared to 88% in 2013)– 22.3% of these had >50 TB of DAS storage and over 6.8% had >500 TB of DAS storage

• 75.0% had NAS or SAN (compared to 70.9% in 2013)– 49.4% had 50 TB or more of NAS storage– About 11% had more than 500 TB of NAS/SAN storage

Coughlin Associates Professional M&E Survey, 2009, 2010, 2012, 2013, 2014

Video Editing Station

Local StorageDRAM

GE CardOr HBA

SANNAS

GE CardOr HBA

Cloud


2012 2013 2014 2015 2016 2017 20180

500,000

1,000,000

1,500,000

2,000,000

2,500,000

3,000,000

3,500,000

NLE Cloud Capacity (TB)

NLE Local Networked Capacity (TB)

NLE Local Capacity (TB)

To

tal C

ap

aci

ty (

TB

)Post-production annual demand (TB)



• 25.6% of 2014 Survey participants use cloud-based storage in their post production (24.7% in 2013) and 28.1% of these had >1TB of cloud storage (23% in 2013)


Storage Technologies and Content Distribution


The Cloud for M&E Content

• In many regards cloud offerings are an out-sourcing approach

• But there are new M&E capabilities enabled by the rise of remote services

• Growth in cloud storage use by professional video– Enables collaborative workflow– Internet enabled content distribution with various acceleration

methods– New cost effective services through the cloud enable greater

sophistication for smaller shops– Some vendors offering cloud “archiving” services


Increasing Role of Flash Memory in Media and Entertainment

• Flash is the most popular storage media for professional cameras

• Flash is used for content delivery—as an acceleration layer

• Flash memory is starting to be used for fast play-out in post production

• Flash memory could eventually supply primary storage in storage systems with HDDs as secondary storage

2014 storage architecture trends• Growing applications with

solid state storage – Content delivery and post-

production– Combinations of flash and HDD– Hot storage on flash and cold

storage on HDDs and tape today– Cold storage on flash?

• Higher speed storage interfaces find broader use

- Thunderbolt now at 20 Gbps)- PCIe/SATA and SAS Express- 12 Gb/s SAS

- USB 3.2 (10 Gbps) -100/40/10 GbE & 16 Gb FC


Storage Manager

Hard Disk Drive

Flash Memory

Host Interface

Flash Memory and HDDs: A Marriage of Convenience, 2011

System Backplane

SFF-

8639

SFF-

8639

SAS

or

SATASA

S or

SA

TASASorSATA SAS/SATA

HDD or PCIe SSD Device

The Future of Content Distribution• MPEG H.265 encoding

(up to a 50% additional compression beyond H.264)– 2-3 X additional overhead

for decoding (HW products in 2014)

– About 100 X more processing overhead at the source for the best quality delivery content

• Adaptive Dynamic Streaming over HTTP (DASH): seamless adaptive streaming of content.


Typical HEVC video encoder (with decoder modeling elements shaded in light gray).


Archiving and Preservation

© 2014 Coughlin Associates

Digital archive media

22


•In 2014 67.3% of the respondents said that their annual archive growth rate was >6% (this was 65.3% in 2013).

•Tape and HDDs dominate long term archival media

•Some backup to the cloud or local network storage (increasing trend)

•About 25.4% of survey participants never update their digital archives


Growth in near-line and off-line digital storage for content archiving

2012 2013 2014 2015 2016 2017 2018

Off-Line

10299.7231554

055

14899.4548319

229

18976.3282060

054

22591.3467816

436

26241.9442650

137

31785.3225500

485

38974.2294922

062

Near-Line

7039.87811632

095

11331.9797313

216

17238.0385993

484

24473.9590134

473

32596.4957910

709

43894.0168548

29

60959.6922826

814

5,000

15,000

25,000

35,000

45,000

55,000

65,000

75,000

85,000

95,000

Near-Line

Off-Line

Archive Storage

(Petabytes)


Media and entertainment market storage revenue share by segment (2013)

Post Produc-tion20%

Content Dis-tribution

17%

Content Acquisition

4%

Archiving and

Preserva-tion59%


Conclusions

• Enabled by lower cost storage and other infrastructure--image resolution, complexity and frame rates are increasing, driving storage demand for content workflows and archiving

• Cameras moving to flash memory for on-board storage• Flash memory is driving the introduction of faster interfaces

enabling speedier video bandwidths and leading to a new storage tiering and high performance interfaces

• Cloud storage starting to show up in various M&E applications to help create collaborative workflows, content delivery and archiving

• Active archives are changing the face of archiving to meet huge archive storage demand

Flexible, Efficient, and Assured Storage Systems

High-Density Storage

Secure ArchiveStorage

Unified Hybrid Storage

26

E Series

Industry Leading Reliability & Availability

Highly Dense Design with 240 TB in 4u

Best-in-Class TCO

Assureon

Automated archive solution for high value data

Secure data storage for regulated applications

Long term Audit Trail

NST

Flexible storage for mid-sized enterprises

Hybrid design leverages SSD for performance

Scales to 5 PB

Exclusive Offer

Tom Coughlin’s Newest Whitepaper• Major trends in M&E content generation and delivery• Major challenges for digital storage in M&E applications• Growth in M&E content in archives, particularly active archives• Case study addressing the M&E customer needs

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THANK YOU

Sources

• CES and Storage Visions Conferences (www.storagevisions.com)

• Creative Storage Conferences (www.creativestorage.org) • 2013 and 2014 Digital Storage for Media and Entertainment

Report, Coughlin Associates• 2009, 2010, 2012, 2013 and 2014 Survey on Storage for Media

and Entertainment, Coughlin Associates• Go to www.tomcoughlin.com (tech papers page)


http://www.storagevisions.com/

http://www.creativestorage.org/

http://www.tomcoughlin.com/

future-proofing your digital media storage

Technology

digital storage

tb of cloud storage

cold storage

nas storage

primary storage

storage systems

secondary storage

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