This is actually a pretty easy and simple way for a film editor and assistant to collaborate on a low-budget feature film. The danger is that if one system crashes, there’s no protection for the other, however that’s relatively low risk. That could be accessed by the second system over the LAN. In its simplest form, such as two edit rooms working in tandem, one computer would have a locally-connected array. Although no SAN software is used in this configuration, AFP is robust enough to prevent disastrous media results. There’s a third approach made possible by Apple File-sharing Protocol, in which Ethernet can be used to access another machine’s local storage over a standard local area network (LAN). On the other hand, a shop with a handful of bays cutting with a low bandwidth resolution like OfflineRT or DV25 will probably be happy with a Gig-E system. If you have over six rooms – or you need to work with multiple streams of online-quality media – then Fibre Channel is the best option. ![]() SANs typically use Fibre Channel or 10 Gigabit Ethernet (10-Gig-E) for fast media data rates, but a SAN can also be built upon standard Gigabit Ethernet (Gig-E), especially when large data rates aren’t required. Of course, various profiles can be established based on project needs, so a user can be assigned write authority to additional volumes when not in use by another editor. Typically a user will have write authority in one room for only a single volume, but can mount the other storage volumes with read-only permission. Various read-only or read/write profiles are established in the controlling SAN software. In a volume-level system, storage is divided into numerous volumes or partitions (organized by room or by project). The SAN administrative software functions as the “traffic cop” to prevent one user from accidentally overwriting another user’s files. Storage is partitioned and organized as a single volume (a single virtual hard drive mounted on the desktop), to which all connected users have read/write access. The two basic types are file-level and volume-level systems.Īs the name implies, in a file-level system, permission to read/write files is granular down to the individual file level. Shared storage solutions are designed to permit multiple rooms (edit suites, audio studios, graphics, etc.) to connect to a common media network in order to access files from any room. I’m going to focus my comments on Final Cut Pro-based facilities, since those are the ones doing the most experimentation with different collaborative network topologies. This frequently takes a “roll-your-own” approach with varying degrees of success. Many small shops are FCP-centric and are looking at what the broader market has to offer. They have also opened their storage to connect with Final Cut “client” workstations. On the small-shop side, Avid has aggressively lowered the price of their solutions, such as the cost-effective ISIS 5000 solution. The Avid Media Composer/NewsCutter+Unity/ISIS+Interplay combination is still the gold standard for editorial collaboration and media asset management. ![]() ![]() ![]() To this day few NLEs has been able to achieve this, although there are effective FCP workflow solutions, as well as EditShare’s approach to Media Composer, Final Cut and Lightworks project sharing. The beauty of the system is complete collaboration among a group of editors, where all can be working within the exact same open project. This evolved into Avid Unity MediaNet and more recently Avid ISIS. Shared storage networks for film and video editing originally came to market in the ‘90s through Avid MediaShare. This has created a happy confluence where once out-of-reach shared storage solutions are now within the budget range of most small production companies, broadcasters and post facilities. Storage costs have come down as the industry transitions to file-based production, post and delivery.
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