Jigsaw24 at BVE 2013: Save money with tiered storage and managed media

Jigsaw24 at BVE 2013: Save money with tiered storage and managed media

If a project’s on hold, or finished but not ready to archive, the last thing you want is for it to take up space on your very fast, expensive SAN. Nearline storage is great for any job that you’re not going to be digging into every day, but aren’t quite ready to archive. Armed with the latest tools from SGI, Marquis, Avid, axle and more, we can build you a tiered storage system that helps you access the projects that you need quickly without losing track of the ones you don’t.

SGI MIS

SGI’s Modular Infinite Storage pretty much does what it says on the tin, and is a great backbone for any high capacity storage setup (we reckon you could fit about a petabyte in 12U of rack space). This integrated server and storage system is “designed to provide extreme flexibility with industry-leading density” and its modular architecture means it’s perfect for anyone who thinks they will drastically expand their storage in the near future. Despite offering a great deal, we’ve also found that it’s easy to maintain and manage, so it’s a good bet if you have a limited onsite IT team.

ISIS 2000

Specifically designed for use with Avid platforms and built from the ground up with large scale media workflows in mind, Avid’s ISIS 2000 not only gives you a set of high-capacity disks to store your assets while keeping your overall footprint down, it also helps you manage your storage. It can be used to store proxies for rough cut editing, as a pre-staging area for assets you’re reusing on upcoming projects and even as a middle ground for when you’re restoring assets from an archive. ISIS 2000 provides a cost effective place to maintain your media before it is moved to either online storage for production or into archive.

Project Parking

Also good for Avid workflows is Marquis’s Project Parking. This allows you to move entire projects – complete with assets, bins, metadata and your existing file structure – into a single package on your nearline storage, meaning it’s easier to find related files if you need to reversion a project later on. There’s even a ‘personal’ version that allows an individual artist to take a project package off your central storage, work on it on their standalone machine and then repackage the new version as an equally complete file, all without having to put the project back on your ISIS. As well as keeping assets together in nearline, we’d recommend this to anyone who’s looking to move projects between sites, or who regularly makes major revisions to projects and wants a way to snapshot the original edit before beginning their changes.

Want to know more? Give us a call on 03332 409 306, email broadcast@Jigsaw24.com or visit us at stand F33 at BVE. To keep up with all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Is your hardware holding you back?

Is your hardware holding you back?

I know that you love your Mac Pro. It’s been with you years. It’s reliable. It’s dependable. It’s powerful. But, well, it’s also massive, doesn’t do you any favours when it comes to data transfer and, unless you definitely need upwards of eight cores, you could probably make do with something smaller…

The new iMac: big processing power, small footprint

If you’re running a quad-core Mac Pro, chances are the current top-of-the-line iMacs are actually more powerful. In recent benchmarking tests, they managed to edge past their Pro equivalents to complete processor-intensive tasks like rendering faster than any other machine at their price point.

Granted, they’re not quite up there with the 12-core Mac Pros, but if you’re working on smaller projects and know you could make do with four cores, swapping your aging Mac Pro for a current iMac will save you space and money, while giving you access to a native 64-bit OS and the latest Thunderbolt technology.

Hardware that works natively with your software

Another thing to bear in mind is that Apple tie their software and hardware together more closely than practically any other company. If you primarily use Apple software – especially tools like the latest version of FCP X, Motion and Compressor – you need to be aware that you’re working on software that’s optimised for the current generation of machines (and their OS), meaning you can take advantage of the full potential of your editing and finishing software.

Even if you’re not a Final Cut user, the latest hardware is really nippy – Lion is natively 64-bit, so you’ll see great compatibility with the latest version of Premiere Pro and Media Composer, and Xsan is now built right into the OS, so you get Xsan client software for no extra cost. Newer machines all use second-generation Intel processors, so the processor, graphics engine, cache and memory controller are all integrated to give you faster data transfer and better overall performance, and we can set you up with a custom-configured machine that gives you all the screen space, graphics processing power and memory you need.

10 Gbps data transfer with Thunderbolt

I know we’ve talked about Thunderbolt a lot, but dual 10 Gbps streams and the ability to daisy chain up to six devices (including the latest Apple displays) really make this technology ideal for video workflows, especially if you’re working with multiple hi-res streams. Third party suppliers are lining up to bring out storage and video I/O devices that work with Thunderbolt, from the latest Matrox MXO2 models to AJA’s Io XT, all the way through to high performance RAID arrays like the Pegasus R6 (which allows you to edit multiple streams of uncompressed footage right from your desktop, without the need for PCIe cards or a tower setup) and Fibre Channel adapters like the SANLink.

Find out more about what the latest Mac hardware can do for your workflow. Call us on 03332 409 306 or email broadcast@Jigsaw24.com.

To keep up with the latest media and entertainment news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.