50'' or 59'' TV Deals
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4K Workflow Challenges Adopting a 4K production workflow can have a significant impact on the entire production workflow and each step of the process has different considerations Existing production environments built for HD production will find it a considerable strain to start producing 4K- storage performance adequate for a full team of HD production creative may only be able to support a few 4K editors, or that 4K ingest consumes so much storage performance that existing production is impacted, For example, four HD streams may independently be streamed from a production SAN, each able to tolerate workstation-to-storage latency of around 40ms before editing or playout is affected and runs out of buffered content, By contrast, a single 4K stream only be able to sustain 20ms of latency before editing or playout is affected and the effect that is only amplified when multiple streams and multiple editors are all working on the same production SAN. While it's true that editors will rarely need to work with uncompressed 4K streams compressed or mezzanine formats remain much larger than their HD counterparts and demand high speed, low latency connections in a shared environment.
It is for this reason that Ethernet-based storage solutions are a poor choice on which to build a production environment-not only is the packetizing video for Ethernet delivery impractical in an editing environment that cannot tolerate latency or out of order data delivery these systems need to be very large to scale to meet the demands of a collaborative shared environment. FibreChannel connected SAN clients and storage is highly predictable and efficiently scales to meet the performance needs of a 4K workflow that is truly collaborative for the shortest time to production and delivery Standalone or independent workstations may seem to be a way to guarantee high-speed access to storage with low latency, but gives up the collaborative benefit of a SAN and wastes time while waiting for one production step to finish and copy back to the SAN, and allows duplicated content is usually not acceptable in a production environment.
Most cameras that capture 4K 50'' or 59'' TV deals do so on flash storage 'carts that must be periodically swapped out and its contents ingested into the production environment. Where film and tape were durable relatively inexpensive-digital capture carts tend to be expensive and of limited size. The carts cannot be used again until its content has been safely ingested-and reshooting to make up for overwritten data is not an option for sports or documentary productions and It is strongly recommended that this content be archived on ingesting before editing begins and the camera carts are released Ingest of these large files and simultaneous archiving can put a strain on a production environment that is not built to accommodate this workflow-after all each AK is 4 times the data equivalent of an HD stream. Edit Once ingested into a primary SAN environment, these large files can be edited by modern non-linear editing systems such as Apple Final Cut Adobe Premiere or AVID Media Composer However, consideration should be given to the number of streams that each editing workstation requires and whether there are enough storage performance and the client to storage bandwidth available to support how the editor prefers to work to maintain the highest productivity in this larger format Even if the editors are using a mezzanine or proxy format when editing 4K 50'' or 59'' TV deals materials, it's worth pointing out that this format will be HD. the format that aims at existing production workflows were built to output.
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