Bringing increased efficiencies to file-based workflows


Reed Haslam TV-Bay Magazine
Read ezine online
by Reed Haslam
Issue 80 - August 2013
Most professionals in todays broadcast and media industries can remember a time when the videotape format was ubiquitous. It was the defacto recording, storage, and playback medium for many years, and fragments of the medium still exist today. What clearly contributed to the success of tape is its compact package, which makes it easy to transport, copy, and store. Additionally, tape storage capacity is infinitely expandable if a broadcaster runs out of storage, all it needs to do is just buy more tape.

While tape has served the industry well over the years, digital storage technology has matured into video server platforms, offering all the benefits of tape along with improved performance, a longer shelf life, and a better price. Video servers for on-air playout offer a similar advantage; material can be loaded onto a hard drive for playout, with editing and instant playout operations.

However, broadcasters still face issues with managing video material (e.g., programs and commercial spots) that is not used on a regular basis. In most cases, it is not efficient or cost-effective for a broadcaster to keep all of its material loaded on the server. Although hard drive pricing has flattened, online RAID storage is not economical for long-term storage. This, in itself, presents a new set of challenges for media asset management and underscores the need to preserve the integrity of assets, including the metadata information.
The Solution: A File-Based Hierarchical Storage Management System

The best way to address these issues is by implementing a file-based workflow based on a complete set of solutions for acquisition, prep, playout, and file management. Leveraging a file-based workflow, broadcasters can maximize operational efficiencies and cost savings.

What broadcasters need is a comprehensive network attached storage (NAS) solution for nearline storage as well as a full archive backend for secure open data preservation on a linear tape-open (LTO) format. Typically referred to as hierarchical storage management, this type of solution utilizes the latest LTFS (Linear Tape File System)file format and can be deployed onsite or in the cloud.

The cloud is useful for both archive and backup purposes, enabling broadcasters to preserve data in the most cost-effective manner possible. The cloud offers broadcasters without a disaster recovery plan a chance to store long-term assets, or content that they anticipate using sometime in the future, offsite. By retaining the services of a cloud provider, broadcasters can ensure the integrity of assets while eliminating the costly maintenance fees associated with onsite storage.

No workflow is complete without a deep archive to preserve and protect the most valuable video assets. Whether onsite or hosted on the cloud, advanced archive solutions can deliver the best of both worlds, offering the latest in open archive technology and state-of-the-art LTO-6 tape. LTO-6 has a massive native cartridge capacity of 2.5TB and high-speed uncompressed transfer rate of 160MB/s. Employing an archive solution that uses the latest LTFS data format, broadcasters can optimize readability and portability. Local and hosted archive solutions can scale from hundreds of terabytes to many petabytes in capacity to satisfy the smallest of broadcast stations all the way to the largest network.
An important piece of the archive puzzle is BXF (the Broadcast eXchange Format), a communications standard that supports three types of data: schedule and as-run information, content metadata, and content delivery instructions. BXF is critical for archiving because it provides broadcasters with unified communications method for exchanging information. Without descriptive metadata, broadcasters would not be able to recognize archived assets efficiently. As digital assets increase, BXF brings order to what would otherwise be a very chaotic environment.

Conclusion

Tying all of these technologies together is the automation system. Leveraging the automation system, broadcasters can manage the entire workflow from acquisition to prep, playout, and file management. As broadcasters increasingly handle a growing number of digital assets, a hierarchical storage management system will enable them to efficiently and cost-effectively preserve the integrity of these files, including important descriptive metadata.


Tags: iss080 | nverzion | efficiency | cost saving | workflows | upgrade | tape storage | digital storage | Reed Haslam
Contributing Author Reed Haslam

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
  • Quantels Stream-based Workflows at IBC 2013

    Quantels Stream-based Workflows at IBC 2013

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Dalet at NAB 2014

    Dalet at NAB 2014

  • ERA at BVE 2014

    ERA at BVE 2014

  • ERA Avere at BVE 2014

    ERA Avere at BVE 2014

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • All you need to know about the Sony FS5 Raw and HDR Upgrade and more from NAB 2017

    All you need to know about the Sony FS5 Raw and HDR Upgrade and more from NAB 2017

  • JVC GY-HM650 upgrade at NAB 2013

    JVC GY-HM650 upgrade at NAB 2013

  • Canon on BroadcastShow LIVE at IBC 2013

    Canon on BroadcastShow LIVE at IBC 2013

  • Thear Technology at BVE 2013

    Thear Technology at BVE 2013


Articles
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The University of the Third Age
Bernard Newnham Here's a cliché - "We all get to be old one day - if we're lucky". There comes a point when things like "....mastered in Dolby Vision Domestic and SDR Rec 709....." become just a touch unimportant (and actually I never really understood that stuff in the first place). I retired for the third time last year - BBC producer, and before that cameraman, then freelance producer, trainer, do-your-own camera, sound, editor, blah blah, then 11 years university teaching. I did my bit - never a BAFTA, but certainly the first into a good few things - but it all has to come to an end sometime.
Tags: iss139 | u3a | panasonic | davinci resolve | Bernard Newnham
Contributing Author Bernard Newnham Click to read or download PDF
REVIEW Canon UJ111x8_3B UHD Lens
Andy McKenzie Shooting in ultra high definition and high dynamic range has become the preferred option for all television productions with a potentially long commercial life. The hir-ing charge and indeed the outright purchase cost of cameras of this standard are not significantly greater than those of high definition standard dynamic range models. With half the world's news reporters now able to capture UHD video on their mobile phones, why give the production crews anything less?
Tags: iss139 | canon review | uj111x8 review | lens | zoom | digisuper | uj90x9b | hdtv | ccu | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Covering Ironman Australia
KitPlus KitPlus recently chatted with Stephen Kane, production manager of IRONMAN Oceania in Australia and New Zealand. IRONMAN is one of the leading mass sports brands in the world, consisting of over 260 events across 44 countries including long (IRONMAN and IRONMAN 70.3) and short (Sprint and Olympic) distance triathlons, mountain bike stage racing, road cycling and running, both marathon and trail. One of those events is IRONMAN Australia, which takes place yearly on the Australian east coast.
Tags: iss139 | ironman | dejero | streaming | cellsat | 5g | engo | mobile transmitter | facebook live | wi-fi | cellular | satellite | KitPlus
Contributing Author KitPlus Click to read or download PDF