NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

EditShare, a technology leader in intelligent shared storage and media management solutions, announced the introduction of the XStream EFS 200 and XStream EFS 300 storage products.

Like other XStream EFS products, these new products are based on the EditShare File System and provide dynamic performance and impressive fault tolerance while streamlining administrative tasks and providing a plug-and-play upgrade path. Unlike other XStream EFS products, however, the new EFS 200 and EFS 300 are the first to provide the option of starting with a simple, affordable and scalable single node solution that also includes the Flow Media Asset Management and Ark Media Archive applications.

This combination of complete workflow support, right-sized capacity and cutting-edge scale-out storage features is ideal for equipping small or emerging media operations and can also become their long-term enterprise grade shared storage platform.

“Obviously, developing an easy-to-manage, high-performance, fault-tolerant scalable shared storage platform that scales out to meet the capacity and bandwidth needs of a typical media enterprise isn’t an easy task. Perhaps even more difficult is the task of developing one that also scales in to meet the needs of small or emerging video companies,” comments Bill Thompson, EditShare storage product manager. “Our new XStream EFS 200 and EFS 300 are a great option for the thousands of smaller companies where a multi-node cluster is simply overkill for their needs.”

The premium XStream EFS storage platform is a powerful, distributed, scale-out file system combined with a highly resilient architecture, specifically developed for media intensive workflows. It’s designed from the ground up to support large-scale workgroups requiring high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multi-platform distribution of HD, 2k, 4k and beyond. Whether a one-node or multi-node system, every XStream EFS model can easily be expanded to increase capacity and bandwidth. For ease of use and administration, all XStream EFS systems present a single namespace, regardless of the system size. And unlike many SAN storage solutions, the performance of XStream EFS does not decrease as storage use increases. Its continual optimal performance and outstanding reliability are backed by RAID 6 technology.

Single Node, all-in-one introductory bundle
For a limited time, EditShare is including a free All-in-One upgrade with the first Single Node EFS system purchased at any site (but only one per facility). A value of up to 13,000.00 USD, the EditShare All-in-One kit includes the extra RAM needed to run Flow, Ark and EFS metadata functions all in one box, plus Flow and Ark software.

XStream EFS 200 configuration options
The XStream EFS 200 is a single-node configuration with 12 enterprise-grade HDDs offering 24, 48, 64, 96 or 128 TB of raw storage capacity in a 2U space saving form factor. The XStream EFS 200 is “EFS Native Client” compatible. Client workstations connect via a lightning-fast, multi-threaded client to achieve a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities like advanced project sharing, the XStream EFS 200 ships with five Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 200 model, please visit http://www.editshare.com/products/xstream-efs-200.

XStream EFS 300 Configuration
For customers who need greater capacity and lower cost per TB (usable) than is available with XStream EFS 200, they can step into the XStream EFS 300. Equipped with 16 drives, the XStream EFS provides 28, 56, 84, 112 or 140 TB of usable capacity in a 3U chassis. Along with increased capacity, the EFS 300 has additional processor power delivering increased bandwidth capability and stream counts. Like the EFS 200 series, the EFS 300 is “EFS Native Client” compatible and benefits from a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities such as advanced project sharing, the XStream EFS 300 ships with 10 Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 300 model, please visit http://www.editshare.com/products/xstream-efs-300.

NAB 2017 attendees can book a private demonstration with an EditShare expert to discuss their shared storage needs and how EditShare solutions can help at: http://www.editshare.com/book-nab-demo.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

 

The view from the front: Post with the Pros tackles virtual reality

The view from the front: Post with the Pros tackles virtual reality

Post with the Pros pulled together its most impressive roster yet for our virtual reality showcase. Demos from manufacturers HTC, NVIDIA, HP, Imagineer, Dolby and EditShare were followed by an expert panel led by our very own Jamie Allan, featuring Mike Davis (Creative Director at Alchemy VR), Oliver Kibblewhite (Head of Special Projects at Rewind), The Mill’s Creative Technologist Kevin Young and Halo’s Head of Audio Operations, Richard Addis. 

Highlights of the night included workflow tips from EditShare (above and beyond “use EditShare”, they recommend an Adobe editing workflow aided by Mettle’s SkyBox Studio 2 plugin), previews of of NVIDIA’s upcoming offerings (a VR WORKS 360 Video SDK that enables realtime stitching of 4K; Pascal architecture that’s up to 95% faster than the previous generation and capable of rendering out both ‘eyes’ of content for a head mounted display simultaneously), and the chance to try out immersive content from a range of our customers, as well as sampling content from the manufacturers themselves.

Story telling vs story living

While the VR market is growing massively, it’s still a relatively new medium, and our panel were keen to pin down how it should and shouldn’t be employed. Our experts were cautious of projects that treated VR like a new version of 3D TV rather than a unique medium, insisting that it needs to be applied to projects where “you think ‘there’s no way this could be any better in any other technology’.”

Rewind’s in-house philosophy makes a clear delineation between story telling – linear narrative, often delivered via 360 video – and story living – immersive experiences delivered via devices like Oculus Rift and HTC VIVE, where the user chooses their own path through the world and the creator’s job is to make sure that a) there’s somewhere for them to go and b) it can be rendered quickly enough when they get there.

Know your technology

Another challenge posed by VR, and often not realised by clients, was the cost of post-production. Not only is there a lot more footage to process, as rigs can run up to dozens of cameras, but as Mike pointed out, “A lot of people don’t think about the cost of painting things out of shot [when shooting 360]”. In Richard’s experience, “VR is rarely longer than 20 to 30 minutes, but the time you spend in post is far in excess of what you’d spend on a 60 minute TV show.”

The challenges aren’t limited to post-production, however. Different cameras will have fractionally different start times and colour differences that need to be compensated for; different brands have different strengths and weaknesses when it comes to stitching several shots together to make a single VR space, and lengthy testing is needed to find out whether, for example, your actors can walk across one of these stitch lines without their face warping, or if you need to set up very specific marks and limits.

There’s also the fact that stitching the individual camera outputs together to make the final shot can take several days, so a director used to seeing instant playback will have to deal with long delays before they know whether they have the shot they want. (This can be sidestepped by strapping a handful of secondary cameras on top of your rig to give them a very rough onset stitch, according to Oliver.)

Devices and delivery

Richard predicts that over the next few generations, the hardware market for VR – which is currently very segmented – will coalesce, allowing for content to be delivered to multiple devices, or be optimised for one platform “so it’ll be like delivering for PlayStation or Xbox” rather than the current system, in which you need to know your target device and its limitations before you begin pre-production.

Oliver’s hopes for the future include “a target baseline level of controls – your HMD should include some sort of haptic feedback, it should have positional tracking, and you should make sure that you can meet a minimum level of experience, especially for interactive content.”

Is it worth it?

While Mike and the rest of the panel were aware that we hadn’t found “the ‘must-have’ content for home VR, like the Queen’s coronation was for television”, they were adamant that tackling the challenges of VR was worthwhile, and that rather than “3D, which got in the way of TV, which people were already comfortable with”, it offered a unique experience for the viewer that was distinct from any other media they have access to. “People are moved by VR in a way that they’re not by TV,” Kevin told us. “It’s something quite special.”

Here’s the full panel, for anyone interested:

Want to know more about how we can help you incorporate VR? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Jigsaw24 add EditShare asset management and storage to the family

Jigsaw24 add EditShare asset management and storage to the family

We’re very pleased to announce that we’ve just signed on with EditShare, the provider of video workflow and asset management solutions, and can provide their exciting range of products to customers in broadcast, post, higher education and beyond.

What do Editshare do?

Editshare offer a whole host of media management solutions designed for video production and the creative industries, from ingest to archive. Central to the range is EditShare Flow, a powerful media asset management platform that lets you take creative control of all files during the production process, including 4K and remote editorial workflows.

Flow tags, organises and manages your media, improving efficiency and increasing productivity. With Flow Automation, you get the ability to automate complex and repetitive workflow tasks including transcoding, and the new AirFlow tool enables you to organise your media files and permissions via the cloud. It includes server-based modules as well as Mac OS X, Windows, and web client applications for a complete palette of production tools.

Other great tools in the Editshare stable include:

XStream shared storage. From capturing media in the remotest locations to managing petabytes of data for the largest media organisations, there’s an XStream storage system for every scenario. EditShare also provides a complete production MAM and archive platform, so you get a comprehensive toolset for managing your media from ingest to delivery.

Geevs ingest and playout. Geevs Broadcast Servers tackle a wide range of demanding workflows including simple ingest, complex newsroom integration (Mos), live sports replay and highlight, multi-camera studio ingest with edit sequence and 24/7 scheduled play-out.

Ark backup and archiving. Ark Disk and Ark Tape seamlessly integrate with EditShare’s XStream central storage and Flow media asset management, providing a tiered storage environment with tremendous automation and media management capabilities.

Who is EditShare for?

EditShare is ideal for just about any size of organisation, and a wide range of applications, including:

Broadcast. While EditShare has over 1000 dedicated Geevs servers deployed for on-air playout and VTR replacement, many broadcasters have also leveraged the complete set of EditShare capabilities to create an integrated end-to-end workflow solution.

Post. From feature film and TV companies, to commercial producers and post houses, EditShare customers benefit from high-performance, cost-effective, intuitively managed and scalable central storage solutions.

Universities. Prepare students for the fast-paced collaborative media production environment, and better manage your workload with EditShare’s Energy and XStream shared storage solutions. EditShare Media Space allows students to log in from any editing workstation on the network, while innovative project sharing features let instructors and students review work together.

Getting on board with EditShare has got Richard Jones, Director of Product Management at Jigsaw24, very excited too: “We’re absolutely thrilled to be partnering up with EditShare as a reseller. It means we can now offer the full range of EditShare’s award-winning video workflow and asset management solutions, providing even more value to our customers in the media and entertainment industry. We can’t wait to start working together.”

Want to know more about EditShare asset management and storage solutions? Get in touch on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.