With the introduction of shared storage into a Final Cut Pro X team, workflows tend to open up and become more sophisticated. Smaller workgroups usually begin by keeping FCPX libraries and their corresponding media in the localized, self-contained bundles FCPX uses by default. This is a logical way to work for very small teams, especially when there’s no shared storage. But, while this works acceptably for smaller, condensed environments, this workflow shows itself to be less efficient with the addition of network storage and increased users/collaboration. As your team grows and more users need more assets, it can be better to have media stored separately from libraries.
Can your system play x number of streams of my favorite codec? When you’re searching for a new shared storage system it’s common to compare a system’s published stream counts against those from different manufacturers, but there’s much more behind these numbers than meets the eye. The purpose of this article is to explain how stream counts can be generated, and highlight some of the less obvious things that can affect a shared storage system’s ability to do (or not do!) a certain number of streams of video playback. We think it’s important when making comparisons to understand how stream counts are generated, and to know what other factors can affect streaming performance and playback. We will also explain some of the ways we generate our own video stream counts and discuss why we get them that way. Part 1 (This is a two-part article. Part 2 explores the stream count topic more deeply and can be found here.) Getting stream counts There are several ways to estimate stream counts, and it won’t always be clear to see how a system’s stream counts were measured just by looking at “the chart,” so trying to use these metrics to compare one system to another can be kind of tricky at best, and misleading at worst. The process a storage manufacturer must go through to determine a system’s stream count is challenging to do accurately and repeatably; it requires testing in a methodical way, with real applications and a vast array of different kinds of hardware and software.
Life Church"s vision is to serve people, develop leaders and impact generations in a dynamic and diverse environment that emphasizes community and bridging divisions. The Siebelings wanted a vibrant ministry that would speak to the needs of a new generation, and one of Life Church"s core values is creativity. Life Church has embraced that value by making video a primary channel for its message, and employing a full-time creative staff that collaborates through the EVO platform.
Park Slope Productions is an award-winning producer of original programming for the likes of OWN, TLC and MTV, and knows what it takes to create engaging television. The production house pores over hundreds of new programming ideas all the time. So when an associate producer came upon a family of nine living "off the grid" in the rugged Alaskan wilderness, the Park Slope team knew it had found something unique.
Gorilla required heavy editing, VFX work, and a fast turnaround time. The production team of six editors, three VFX artists, one Colorist and a Composer needed to easily access project files. With EVO's video project and sharing abilities, the team was able to access their files simultaneously.
With a presence at virtually every major televised sporting event in America, FOX Sports and Game Creek Video have the hardest working teams in broadcasting. A cast and crew of hundreds come together to turn out the programming millions of viewers see every week including NASCAR, NFL Football, UFC, FIFA World Cup and MLB. With the successful debut of FOX Sports 1, a 24-hour sports network, the number of live broadcasts has vastly increased. To accommodate the growth, FOX Sports needed to boost its production capabilities. So it turned to Studio Network Solutions (SNS). Longtime FOX Sports partner Game Creek Video, a New Hampshire based high- definition mobile production company, has five branded FX HD trucks providing all the remote production for FOX Sports’ live sporting events. The five FOX Sports trucks are 53′ expanding-side high-definition production units and are collectively equipped with audio, video, replay, transmission, production, graphics, tape release/sub-switchers, two Final Cut edit rooms, producer work areas, maintenance, storage, and an HD viewing room. Additionally, each truck comes staffed with a production manager and at least one engineer. “Having SNS EVO in place has been a huge advantage,” stated Keith Martin, Engineer, FX HD, Game Creek Video. “Because everything is happening live we are constantly in a time crunch for a quick turnaround of material. Utilizing the 10GbE ports on the EVO, we can get the whole EVS network in sync as fast as possible and easily share files back and forth between the editors and the replay rooms.”
Specialized Bicycle Components Enlists EVO Shared Storage Server to Enable Collaborative Workflow All Roads Lead to Awesome, the tagline for the Specialized Road bike collection, could easily be referring to the video content produced for its website. Specialized Bicycle Components, Inc., more commonly known simply as Specialized, is the global leader in designing and manufacturing high performing bicycles, cycling components and apparel. Click on any page of Specialized’s website, www.specialized.com, and you’ll find loads of information, stories, resources and rich media content brilliantly representing the Specialized brand which signifies both advanced technology as well as a strong and growing community made up of world-class cycling champions and enthusiasts. Amazingly, a small team of in-house production professionals produces all of this content, which consists of upward of 200 videos per year and loads of images. Their biggest challenge is how to manage and store all of these growing assets. When they needed a solution to better streamline their production workflow, Specialized turned to SNS EVO shared storage server. “Though we produce an enormous amount of high-quality content, it’s not a traditional production house,” stated Aaron Vogel, Video Specialist, Specialized. “I started as a one man band under our Web department working off direct connect hard drives to a Mac tower. It was fine when it was only myself but as we’ve expanded our production team, the need for sharing capabilities has become much more necessary.” Specialized workflow had one major business problem, organization. The workflow consisted of three Mac workstations running entirely Apple FCPX and direct-connect storage. To solve the organizational problem they brought in CatDV for media asset management. Then they needed an additional SAN solution to share and organize assets outside of CatDV. But it quickly became apparent that the SAN solution they chose created a new problem, incompatibility. The SAN system would not work with Apple OS X shortcut files that FCPX used to reference media.
A 50 minute documentary produced by Spaghetti Media, was flighted in Ster Kinekor Cinemas concurrently all over South Africa. Commissioned by ABSA Business Bank, and conceptualized by Cando Advertising, the documentary showcased the growth of a number of SMEs, which today are well known brands in their fields. Spaghetti Media produced the documentary in 49 days, making for extremely tight deadlines for a project of this nature. The team created every element of the movie from shoot to final mix. Spaghetti Media worked with director Nick Brown and a small crew for the 12 shoot days. Spectrum were responsible for Quality Control and encode, and were extremely accommodating in allowing the Spaghetti team to QC the job in small batches.
Pixl Family Founder and Executive Producer, John Lundberg has a lot on his plate. With over 40 global brands and agencies trusting the company to promote them including, Samsung, Red Bull, Nike ACG, Oakley, Peak Performance, Grow, Great Works and more, Pixl Family has quickly become one of Europe’s leading creative production houses. So when it came time to update their production pipeline, they needed something that would live up to the highest level of quality, SNS EVO delivered.
Founded in a garage in 1998, Kukl started out as a small rental company for the film and television industry in Iceland. Demand quickly grew to include production and post-production services, and today Kukl is a leading supplier of equipment and services to Icelandic and foreign productions offering a complete workflow from pre-production to final completion. Kukl’s projects range from live satellite shoots to feature films. To fully utilize its investment in computer hardware in its Audio-Video Operations Center (AVOC) and edit suites Kukl needed a fast and reliable SAN. Kukl mostly relies on Apple Mac Pro’s running Final Cut Studio with two Mac Pros used for ingest/playout in the AVOC and four edit suites, in addition to a finishing suite. Many of its projects have to move from one video system to another, and they felt the best solution for that is SAN on fiber.