Tom Coughlin of Coughlin Associates delves into global trends and best practices with digital storage for the Media and Entertainment industry and discusses what you should consider when putting together a storage solution in a video production environment.

1. Tom Coughlin, Coughlin Associates
www.tomcoughlin.com
Digital Storage in Professional
Media and Entertainment
Technical Challenges and Business
Opportunities
1

2. About the Presenter
Thomas M. Coughlin, President, Coughlin Associates is a widely respected
storage analyst and consultant. He has over 30 years in the data storage
industry. Dr. Coughlin has many publications and six patents to his credit.
Tom is also the author of Digital Storage in Consumer Electronics: The
Essential Guide, published by Newnes Press. Tom publishes the Digital
Storage Technology Newsletter, the Digital Storage in Media and
Entertainment Report, and other reports.
Tom is active with SMPTE, SNIA, the IEEE, and other professional
organizations. He is VP of Future Directions for the IEEE Consumer Electronics
Society as well as Director Elect for IEEE Region 6. He is serving his third term
as a member of the CE Society BoG and was Vice President of Operations for
three years. Tom is the founder and organizer of the Annual Storage Visions
Conference, a partner to the International Consumer Electronics Show, as well
as the Creative Storage Conference. He is the general chairman of the annual
Flash Memory Summit. nnesota as well as a BS in Physics from the same
school.
© Coughlin Associates, 2015 2

3. Outline
• Why We Should Care about Digital Storage
• Media and Entertainment Storage Survey
• Digital Storage in Content Capture
• Post-production Digital Storage
• Digital Storage in Content Delivery
• Content Preservation and Archiving
• Breakdown of Storage Capacity and Revenue
for Media and Entertainment Applications
© Coughlin Associates, 2015 3

4. Example resolution, data rates and storage
capacity requirements for professional media
standards
4
8K Ultra-HD may use more than 100X capacity
of HD!
8K X 4K based upon “Super Hi-Vision” Video Parameters for Next Generation Television, SMPTE Motion
Imaging Journal, May/June 2012, P. 63-68
© Coughlin Associates, 2015

5. Richer Images = more storage
• Frame rates for movie content
are increasing from the historical
24 frames per second (fsp) to 48
or 60 fps and may eventually be
as high as 300 fps.
• Cameras are now available that
can support 120 fps (even up to
3,000 fps)
• 4K production is commonplace
but 6K and even 8K movie
production starting in
professional video projects.
• Video resolutions of 16K and
even higher are contemplated in
the future.
© Coughlin Associates, 2015 5

6. New Views
• KDDI and some European
players have performed “free
viewpoint” demonstrations
with content captured using
4-30 4K video cameras
simultaneously.
• Light-field imaging could
allow even more immersive
2D and 3D video (greater
image depth possible) and
would increase required
storage capacity by at least
3X conventional images
• Color gamut increases as well
as better contrast and
extended luminance levels
Lytro
Light-field
Camera
Free View Point Video
© Coughlin Associates, 2015 6
Increase in
Color Gamut,
Dolby Vision

7. How Long Until Exabyte Video?
• As video resolution and frame rate increase, camera
image complexity increases and stereoscopic projects
multiply, the storage capacity and bandwidth
performance requirements becomes staggering.
• A calculation shows that 16,000 X 8,000 pixel resolution,
24 bits/pixel, 300 fps raw video content could require 115
GB/s data rates and 414 TB/hour. If 4 cameras were used
to create data for a “free viewpoint” presentation the raw
data would be 1.66 PB for an hour of content
• Truly the bandwidth and capacity requirements to work
with future rich media formats are staggering!
• Even HEVC won’t be enough
© Coughlin Associates, 2015 7

8. Media Content Size Trends
0.01
0.1
1
10
100
1000
One page
ASCII text
1KB 10KB 100KB 1GB1MB 10MB 100MB 10GB 100GB 1TB
CD Quality
Stereo Audio
DVD Movie
(MPEG-2)
HD Movie
Ultra HD
Movie
Virtual Reality,
3D Movie
Data
Rate
(Mbps)
Multimedia Object Size
8© Coughlin Associates, 2015

9. Virtual Reality: Making A Holodeck
• Free floating
holographic and other
advanced display
technologies are in the
works—within the
next 10 years we could
approach something
like a display allowing
you to move within
the action—leading to
holodeck-like
experiences
From Wired Magazine
9© Coughlin Associates, 2015

10. © Coughlin Associates, 2015
Digital Entertainment Content Workflow.
10

11. Content Acquisition
© Coughlin Associates, 2015 11
2014
Results
Film
2%
Magnetic tape
7%
Optical discs
10%
Hard disk
Drives
24%
Flash memory
57%
Year Magnetic
Tape
HDD Optical Flash
Memory
Film
2009 34% 23% 9% 19% 15%
2010 25% 22% 17% 28% 8%
2012 20% 22% 12% 44% 2%
2013 15% 18% 7% 59% 1%
2014 7% 24% 10% 57% 2%

12. Content Acquisition (2)
© Coughlin Associates, 2015 12
Percent Born Digital 2010 2012 2013 2014
<10% 3.9% 0.9% 1.1% 0.0%
11% to 20% 1.3% 0.4% 0.0% 1.1%
21% to 30% 3.2% 0.0% 0.0% 1.1%
31% to 40% 3.2% 2.6% 1.1% 2.1%
41% to 50% 5.2% 2.2% 3.3% 2.1%
51% to 60% 5.2% 1.7% 2.2% 1.1%
61% to 70% 5.8% 3.1% 6.5% 4.2%
71% to 80% 8.4% 8.3% 10.9% 7.4%
81% to 90% 16.1% 10.9% 15.2% 15.8%
91% to 100% 47.7% 69.9% 59.8% 65.3%
>50% 83.2% 93.0% 94.6% 93.8%
1 hour
2%
2-5 hours
33%
6-10 hours
29%
11-50 hours
21%
51-100 hours
7%
>100 hours
6%
Other
2%
64.5% of Respondents
said they capture 6 or
more hours of content for 1
hour of finished work
Hours captured for an
hour of final content
12

13. Pixar Render Farm
13© Coughlin Associates, 2015

14. © Coughlin Associates, 2015
Professional Non-linear Editing Model System
14

15. Digital Editing and Post Production
© Coughlin Associates, 2015 15
• 87.7% had DAS
(compared to 87.3% in
2013, 92% in 2012
22.3% of these had more
than 50 TB of DAS storage
(compared to 18.3% in
2013)
• 75.0% had NAS or SAN
(compared to 70.9% in
2013, 53.8% in 2012
About 11% had more than
500 TB of NAS/SAN
storage (same as 2013)
40.0%
50.0%
60.0%
70.0%
80.0%
90.0%
100.0%
110.0%
1-10 11-100 101-500 501-1000 >1000
PercentagewithDASorNAS/SAN
NumberofPeople
%DAS
%NAS/SAN
15

16. Post Production
© Coughlin Associates, 2015 16
• In 2014 25.6% of
responding
participants said
they used cloud-
based storage for
post production
versus 24.7% in
2013 and 15.1% in
2012.
• In 2014 28.1% of
the respondents
said that they had
1 TB or more
storage capacity in
the cloud vs. 23%
in 2013.0
500,000
1,000,000
1,500,000
2,000,000
2,500,000
3,000,000
3,500,000
4,000,000
4,500,000
2013 2014 2015 2016 2017 2018
TotalCapacity(TB)
NLE Cloud Capacity (TB)
NLE Local Networked Capacity (TB)
NLE Local Capacity (TB)
2014 Digital Storage for Media and Entertainment
Report
16

17. © Coughlin Associates, 2015
Internet Content Distribution System (CDN)
Source Content
(NAS or SAN)
Content Central Server
Edge Server
Edge Server
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Source Content
(NAS or SAN)
Content Central Server
Edge Server
Edge Server
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
Internet User
17

18. Content Distribution
© Coughlin Associates, 2015 18
• Average hours on central content delivery
system was about 1,142 hours in 2014
• There were 688 hours ingested monthly in
2014
• In 2014 43.2% of respondents had more
than 5% of their content on edge servers
• About 21.4% used flash memory on their
edge servers

19. The Future of Content Distribution
• MPEG H.265
encoding (up to a 50%
additional compression
beyond H.264)
– 2-3 X additional overhead
for decoding (HW products
in 2014)
– About 100 X more
processing overhead at the
source for the best quality
delivery content
• Adaptive Dynamic
Streaming over HTTP
(DASH): seamless
adaptive streaming of
content.
© Coughlin Associates, 2015 19
Typical HEVC video encoder (with
decoder modeling elements shaded
in light gray).

20. Digital Cinema (Mercado Theatre, Santa Clara)
20
Digital Cinema Projector
USB hard drive For movie
distribution to theatre
© Coughlin Associates, 2015

21. Content Archiving Media
Magnetic
Tape
Optical
Disc
HDDs
© Coughlin Associates, 2015 21

22. LTO projected tape generations
22© Coughlin Associates, 2015

23. Sony/Panasonic Optical Archive Roadmap
23© Coughlin Associates, 2015

24. HDD Roadmap
© Coughlin Associates, 2015 24

25. Digital Archiving and Preservation
© Coughlin Associates, 2015 25
• 41.9% had >2,000 hours of content in a long
term archive in 2014
• The average rate of conversion is about 7.0%
• In 2014 67.3% of the respondents said that
their annual archive growth rate was >6%
• 35.1% added 1,000 hours or greater to their
archive annually in 2014
• About 33.3% had >2,000 hours of unconverted
analog content in 2014

26. Cost for Storing 1 PB for 20 Years
© Coughlin Associates, 2015 26
• The total cost of saving
1 PB of data for 20
years is about $1.49 M
for HDD storage and
about $468,000 for
tape storage.
• For HDDs about 37% of
the total cost is in the
first year.
• For tape about 19% of
the total cost is in the
first year.
$1,000
$10,000
$100,000
$1,000,000
AnnualEstimatedCostfor1PB
HDD
Tape
26

27. More Archive Survey Results
© Coughlin Associates, 2015 27
• About 25.4% never update
their digital archives in
2014 (compared to 42.4%
in 2013)
• About 67% copied and
replaced their digital long
term archives every 10
years or less in 2014 (this
was 47% in 2013)
• 40% said that they would
use a private or public
cloud for archiving content
in both 2014 and 2013
27

28. Percentage of tape formats used in digital
archiving
© Coughlin Associates, 2015 28

29. Growth in Near Line and Off-Line
Archive Storage
29
0
10,000
20,000
30,000
40,000
50,000
60,000
2013 2014 2015 2016 2017 2018 2019
Archive
Storage
(Petabytes)
Near-Line
Off-Line
© Coughlin Associates, 2015

30. 2013 Media and Entertainment Storage
© Coughlin Associates, 2015 30
Media and
Entertainment Market
Storage Revenue Share
by Segment
Distribution of Storage
Capacity
2014 Digital Storage for Media and
Entertainment Report
Post
Producti
on
1.2%
Content
Distributi
on
1.8%
Content
Acquisiti
on
0.5%
Archiving
and
Preserva
tion
96.5%
Post
Production
25%
Content
Distribution
24%
Content
Acquisition
4%
Archiving and
Preservation
47%
30

31. 2013 Market Share of Capacity Shipped
© Coughlin Associates, 2015 31
2014 Digital Storage for Media and
Entertainment Report
31
Tape
42.6%
Optical
11.4%
HDD
45.4%
Flash
0.5%

32. Cloud Storage Capacity for M&E
© Coughlin Associates, 2015 32
0
500
1,000
1,500
2,000
2,500
3,000
3,500
4,000
4,500
5,000
2013 2014 2015 2016 2017 2018 2019
CloudCapacity(PB)
Archiving and Preservation
VOD
Internet Distribution
Post Production
2014 Digital Storage for Media and
Entertainment Report
Cloud storage
revenue to
increase to over
$1.5 B by 2019
32

33. 33
Conclusions
• Flash memory is now the dominant technology for content capture, followed
by hard disk drives and optical discs
•Improvements in network storage performance as well as resulting production
efficiencies is driving the growth of network storage over direct attached
storage.
•Likewise the use of digital storage in data centers (cloud storage) is playing a
bigger role in media and entertainment to provide OTT content distribution and
collaborative workflows.
• The increase in content resolution and the amount of content is driving
performance and storage in content delivery systems and the growth of on-line
distribution storage.
•Storage capacity and growth in professional media and entertainment show
the size of digital content libraries while storage revenues reflect the value of
the content where it is used.
© Coughlin Associates, 2015

34. References
• 2009-2014 Survey of Storage in Professional
Media and Entertainment
• 2014 Digital Storage in Media and
Entertainment Report, Coughlin Associates,
http://www.tomcoughlin.com/techpapers.ht
m
• 2015 M&E Professional Storage Survey is now
active:
https://www.surveymonkey.com/s/5NXY95W
© Coughlin Associates, 2015 34

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37. Thanks
37© Coughlin Associates, 2015