360 degree video storage requirements


Dave Frederick TV-Bay Magazine
Read ezine online
i
Swim with bears, run with the bulls, get a pads-eye view of a rocket launch: 360 degree video production, also known as cinematic VR, makes these and many other bucket list-worthy events more accessible than ever. The format has evolved into a powerful storytelling tool, and one that changes not only the way in which visual experiences are shaped, but also the way in which media consumers perceive and interact with video content.

Putting viewers at the heart of the action, 360 degree video gives people a new way to experience new places and events. Free from the constraints of a fixed perspective or conventional frame, 360 degree video also offers advertisers a valuable device for connecting with audiences in a more engaging way.

The popular immersive format uses images that are captured by as many as 60 cameras, all simultaneously filming overlapping angles, and then stitched together into a single spherical piece of video. Footage from each camera is color graded to ensure consistency around the full 360 degree view, and visual effects (VFX) and animation sometimes are used to remove intrusive elements, such as the production team and their equipment, so that immersive scenes are more visually appealing and believable.

The resulting 360 degree piece typically is rendered at a high resolution of 4K or higher, and in some cases, the end result is the equivalent of a 6K- or 8K-resolution image. In fact, even greater resolutions are being used for some content specifically created for viewing on high-end head-mounted displays. Obviously, these colossal pixel counts translate to massive volumes of data, which in turn present new challenges to the media storage infrastructure supporting content creation.

Although a boost in capacity is a clear requirement of the storage systems enabling 360 degree video production, performance is a critical concern. Editing and grading processes demand storage arrays that are capable of ensuring continuous sequential playback of ordered frames on disk. At the same time, the VFX and animation work done to enhance images can require both sequential and random performance. The varying requirements of these distinct 360 degree video production workflow stages can call for a fresh look at storage infrastructure and how well its performance characteristics address the entire creative process.

Creative houses embracing 360 degree video production are finding that Fibre Channel storage area networks (SANs) provide the deterministic, guaranteed bandwidth needed by each connected workstation to enable the sequential playback of large frames and files during editing and grading. IP-based network attached storage (NAS) is proving a cost-effective solution for realizing the random storage performance demanded by VFX and animation work, which involves smaller file reads and writes from a larger number of connected workstations.

Whatever the combination of spinning disk and/or solid state drives (based on flash memory) used, the most effective way to employ the optimal storage systems for the overall 360 degree video production workflow is to take advantage of both Fibre Channel and IP connections via a unified SAN/NAS model. Establishing both types of connections to its shared storage infrastructure, a facility can give creatives and their applications the type of performance that best suits their work. This approach also serves to reduce or eliminate the time-consuming network-based transfer of files between workflow stages, an efficiency gain that can yield radical time savings and, in turn, enable greater creativity, productivity and profitability.

360 degree video gives content creators exciting new opportunities to tell stories in new ways - and to let media consumers take a more active role in interpreting images and in shaping the viewing experience. With storage infrastructure optimized for all stages of the production workflow, content creators can take on new 360 degree video projects and clients with confidence in their ability to deliver a compelling immersive viewing experience.

Solid state drives (SSDs) based on flash memory rather than spinning disk are also being used to meet the random performance requirements of animation work, as they have the potential to offer up to 100 times the random performance of hard disk drives (HDDs). This tremendous leap in performance comes at a cost, however. All-flash arrays can be pricey. And they don't offer much capacity, a must for high-resolution workflows. For this reason, a storage platform that can combine both SSDs and HDDs may be the best of both worlds, as it allows the best type of storage to be used for the most appropriate type of data.


Tags: iss126 | 360 degree | vr | storage | vfx | ssd | san | nas | quantum | Dave Frederick
Contributing Author Dave Frederick

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • ATEME at NAB 2014

    ATEME at NAB 2014

  • Sennheiser VR at IBC 2016

    Sennheiser VR at IBC 2016

  • Elemental Technologies VR at NAB 2016

    Elemental Technologies VR at NAB 2016

  • Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

    Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

  • Ross Video at BVE 2017

    Ross Video at BVE 2017

  • All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

    All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

  • Facilis Technology Shared Storage at IBC 2018

    Facilis Technology Shared Storage at IBC 2018

  • Object based Storage Solution from Object Matrix at IBC 2017

    Object based Storage Solution from Object Matrix at IBC 2017

  • Glyph External Storage including the Studio and Atom raid at IBC 2017

    Glyph External Storage including the Studio and Atom raid at IBC 2017

  • Object Based Storage Solutions from Object Matrix at NAB 2017

    Object Based Storage Solutions from Object Matrix at NAB 2017

  • Storage DNA at BVE 2016

    Storage DNA at BVE 2016

  • Fibrenetix with StorageDNA at IBC 2014

    Fibrenetix with StorageDNA at IBC 2014

  • Nexsan at NAB 2012

    Nexsan at NAB 2012

  • ERA at BVE 2014

    ERA at BVE 2014

  • ERA Avere at BVE 2014

    ERA Avere at BVE 2014

  • New CEO and news update from TMD at NAB 2017

    New CEO and news update from TMD at NAB 2017

  • SGL Broadcast at IBC 2015

    SGL Broadcast at IBC 2015

  • Tiger Technology at BVE 2015

    Tiger Technology at BVE 2015

  • Fibrenetix with Quadrus at IBC 2014

    Fibrenetix with Quadrus at IBC 2014

  • Facilis at NAB 2014

    Facilis at NAB 2014

  • GB Labs Space at NAB 2014

    GB Labs Space at NAB 2014

  • Front Porch Digital on BroadcastShow LIVE at IBC 2013

    Front Porch Digital on BroadcastShow LIVE at IBC 2013

  • Sonnet Technologies on BroadcastShow LIVE at IBC 2013

    Sonnet Technologies on BroadcastShow LIVE at IBC 2013

  • EditShare on BroadcastShow LIVE at IBC 2013

    EditShare on BroadcastShow LIVE at IBC 2013

  • Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

    Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • NOA Audio Solutions at IBC 2013

    NOA Audio Solutions at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Global Distribution with mLogic at IBC 2013

    Global Distribution with mLogic at IBC 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • SGL at NAB 2013

    SGL at NAB 2013

  • Object Matrix at BVE 2013

    Object Matrix at BVE 2013

  • Facilis Technology at BVE 2013

    Facilis Technology at BVE 2013

  • Editshare at NAB 2012

    Editshare at NAB 2012

  • Arkivum at BVE 2012

    Arkivum at BVE 2012

  • Facilis at BVE 2012

    Facilis at BVE 2012

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • Suitcase TV at IBC2011

    Suitcase TV at IBC2011

  • Sonnet Technology at IBC2011

    Sonnet Technology at IBC2011

  • ATTO Technology at IBC2011

    ATTO Technology at IBC2011

  • Bristol VFX at IBC2011

    Bristol VFX at IBC2011

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Angelbird SSDs at BVE 2014

    Angelbird SSDs at BVE 2014

  • Guntermann and Drunck CrossDisplay switching and CCD at IBC 2013

    Guntermann and Drunck CrossDisplay switching and CCD at IBC 2013

  • Mac Mini support from Sonnet Technologies at NAB 2019

    Mac Mini support from Sonnet Technologies at NAB 2019

  • GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

    GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Hybrid Cloud Media Aggregation from Cantemo at NAB 2017

    Hybrid Cloud Media Aggregation from Cantemo at NAB 2017

  • Haivision live encoding HEVC at IBC 2013

    Haivision live encoding HEVC at IBC 2013

  • True Lens at BVE 2013

    True Lens at BVE 2013

  • Global Distribution at BVE 2012

    Global Distribution at BVE 2012

  • Quantum Xcellis Scale-out NAS Solutions at BVE 2018

    Quantum Xcellis Scale-out NAS Solutions at BVE 2018

  • Panasonic Lumix GH5 at BVE 2017

    Panasonic Lumix GH5 at BVE 2017

  • SISLIVE Manpak tripod antennas at NAB 2015

    SISLIVE Manpak tripod antennas at NAB 2015

  • Panasonic show VariCam at IBC 2014

    Panasonic show VariCam at IBC 2014

  • Jampro Antennas at NAB 2013

    Jampro Antennas at NAB 2013

  • Panasonic at BVE 2012

    Panasonic at BVE 2012

  • Holdan and Panasonic at BVE North 2011

    Holdan and Panasonic at BVE North 2011

  • Panasonic at IBC2011

    Panasonic at IBC2011

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • Belfast TOUR

    Belfast TOUR

  • Polecam talk accessories on BroadcastShow LIVE 2013

    Polecam talk accessories on BroadcastShow LIVE 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Quantum C80 from Cineo at NAB 2017

    Quantum C80 from Cineo at NAB 2017

  • Excelero Any-K at NAB 2018

    Excelero Any-K at NAB 2018


Related Shows
  • StorageDNA LIVE at BVE 2016

    StorageDNA LIVE at BVE 2016


Articles
Making a Difference in Wireless Transmission
Lukasz Malankowski

We are very proud to say that we are the only company that provides a highly specific service, and that is the hire of wireless video transmission solutions operating in the licence exempt spectrum.

There are other companies that provide licensed equipment and offer a diverse range of wireless solutions based on different modulations, but our products, coupled with the offerings of others rather than competing with them produce a wireless workflow that is greater than their separate capabilities.

Tags: iss138 | boxx | production | wireless | 4k | Lukasz Malankowski
Contributing Author Lukasz Malankowski Click to read or download PDF
Review: JVC GY-HC900 Camera
Andy McKenzie JVC has a long history of developing relatively low price-point equipment, dating right back to its success in the 1970s with the VHS tape format. JVC products sometimes impact the broadcast mainstream but generally find greatest success in niche market segments such as news production where price and portability take priority over the no-comprise quality and robustness demanded by the leading studio-based and OB content producers.
Tags: iss138 | jvc review | camera | sdhc | sdxc | mpeg-2 | nab | gy-hc900 | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Centre Stage for Cameras with All About Eve
Anthony Newton Taking its inspiration from the classic 1950 film, Ivo van Hove’s stage production of All About Eve, starring Gillian Anderson as theatre darling, Margo Channing, and Lily James as the eponymous Eve, retains the themes of ageing, celebrity and obsession. The piece, produced by Sonia Friedman Productions and Fox Stage Productions garnered stellar reviews during its recent run at London’s Noel Coward Theatre.
Tags: iss138 | blackmagic design | micro studio camera | ronin | smartscope duo | Anthony Newton
Contributing Author Anthony Newton Click to read or download PDF
How the Womens World Cup was Boosted by Broadcast
John Griffiths As we write this article, England’s Lionesses have just beaten Norway 3-0 and are smashing viewing figure records, with 6.9 million viewers tuning in to watch them play Cameroon on BBC One. Rewind to the previous World Cup in 2015, and England’s group and early stage knockout games tempted up to 2.5 million viewers for each match. It’s safe to say that women’s football is finally having its moment; what was perhaps once considered a niche sport is finally gaining momentum in the mainstream space with broadcasters giving it the attention it deserves.
Tags: iss138 | wwc | world cup | spicymango | diversity | John Griffiths
Contributing Author John Griffiths Click to read or download PDF
The World of 12G 4K/UHD Processing
Varun Patel Technology moves fast and when it comes to audio and video broadcasting, there is always room for improvements in audio and video quality and ease of production. One of the main goals of broadcasters and content providers today is to create an immersive experience for the viewers, giving them the feeling of being part of the viewed content. The 4K/UHD buzz has been in the consumer world for some time but what does that actually mean for the content producer?
Tags: iss138 | lynx technik | ott | greenmachine | yellobrik | conversion | Varun Patel
Contributing Author Varun Patel Click to read or download PDF