NAB 2019
Las Vegas, NV
April 8-11 2019

4K Shared Storage — Considerations for Post, Color, VFX, and Archive

When Avatar was released in December of 2009, it was the most expensive movie ever made, in total budget and total storage costs. The VFX team needed over 1 petabyte (PB) of storage to complete the film—which out of a 162m runtime, was 60% CGI—and it wasn’t even shot in 4K. Five years later, in 2014 The Amazing Spider-Man 2 more than doubled that and generated roughly 2.4PB during the process of scanning 1.5 million feet of 35mm film to 4K.

Today, it’s relatively common for a feature production to surpass the 1PB mark, and even boutique production companies and corporate video teams are buying hundreds of terabytes worth of media storage. When almost all of the popular DSLR cameras and even cell phones are capable of shooting 4K, it’s no surprise that we see it in video workflows outside of film and TV. Even if you’re not working on a blockbuster with a $300m budget, the growing prevalence of 4K, HDR, HFR, and other in-demand formats is being felt everywhere, especially on storage. That’s why it’s more important than ever to consider your workflow and infrastructure carefully so that you can get the most out of your 4K shared storage investment.

To Boldly Pro (Where No Mac Has Gone in a While)

The wait is finally over. Just 6 years since the release of the last Mac Pro, lovingly dubbed “The Trashcan,” Apple has announced a brand new Mac Pro that harkens back to the original 2006 version. The new Mac Pro pays fromage to the cheese-grater design of its predecessor, but there’s nothing cheesy under the hood. In fact, the Mac Pro announced at WWDC marks a significant turning point in Apple’s quest to win back the post-production and VFX professionals.

New Replication and Remote/Cloud Sync Features in EVO

EVO can now automatically sync, copy, and backup your shares, folders, and files to other on-site systems and cloud services.

Slingshot—the automation engine and API for EVO—includes a new type of replication job created specifically for backup and other redundancy goals. The new “replication” job type accommodates cases where entire directories and incremental changes need to be handled. Sources and destinations can be shares hosted by EVO, USB drives hosted by EVO, other networked storage systems, or AWS S3 buckets.

Central Post LA Chooses EVO to Enable Dolby Atmos Mixing & QC Workflows

Central Post LA has four control rooms, three recording spaces, and three full edit suites running Avid Media Composer, Adobe Premiere, and a DaVinci Resolve coloring suite. CPLA is equipped for something you won't find in many other facilities—Dolby Atmos for Home nearfield mixing—a service they increasingly provide for network, streaming, premium cable, and corporate clients.

Bipolar Studio Builds Award-Winning VR Experiences with EVO

When Bipolar Studio started to expand their capabilities to include things like 8K & 10K resolutions and 32-bit VR CGI, they knew it would be impossible without the right shared storage solution. They needed a server that could not only help them get over the roadblocks in their current workflow but help them fully realize their potential.

Microsoft’s Channel 9 Studio Using EVO and TriCaster

Microsoft's Channel 9 is a full-blown production studio with over 3 million unique viewers every month. They deliver upwards of 100 videos in a given week, and they use EVO so that all of their raw footage, Premiere projects, graphics, and finished shows are safe and available from any machine, at any of their edit stations.