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.
The NAB floor opens in just a few days, and with over 1,700 companies exhibiting and over 100,000 attendees, there’s a lot to see. Thankfully, this year, you’ll have more chances than ever to see EVO Shared Storage on the NAB floor.
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.”