“The Pro-Cache made it easy to get to LTO to ensure the security of the digital source masters and all of the postproduction work. At the same time, the bonding company felt safer and more at ease with digital because we archived on LTO, the same tape-based platform that banks use.”
- Russell Lasson
“We had to go to LTO; there was no question about it,” said Russell Lasson. “LTO makes the content secure and accessible, and there really aren’t any other options. Filmmakers need to have compatibility without having to rely on a company’s proprietary software and whether or not they’re going to be around in 20 or 30 years when they might need to access the tape. The tape would be fine, but if you can’t find the software to restore it, then you’re in trouble. That’s where LTO’s compatibility with tar is absolutely necessary.
“When content is king, a good archiving system needs to be a fortress to keep data safe and secure for decades to come.” With that in mind, Brighton, U.K.-based Friday Productions moved from a less-than-perfect disc-based system to a Pro-Cache digital tape-based archive solution.”
- Emma Smith, Managing Director, Friday Productions.
Friday Productions was growing rapidly and had amassed a great deal of content on external hard drives, which was proving to be a very costly method of archiving. The group specializes in action sports and lifestyle programming, covering such events as snowboarding, surfing and cycling, with sponsors such as Red Bull, Oakley, Burton Snowboards and the International Cycling Federation. “It just wasn’t an option to keep expanding our fast storage. We lost some data – thankfully nothing too important – but we couldn’t continue to risk it,” said Emma Smith, Managing Director. The recommended solution was the Cache-A Pro-Cache4 Archive Appliance, which stores 800GB of content on a single, secure and inexpensive data tape. This solution provided the security of writing to digital tape combined with writing to an open format. The Friday team is able to access any part of a program on tape as required. “Cache-A uses tar, a standard non-proprietary tape format, so the content is just as accessible as it would be on a disc. The Cache-A solution has saved us money and space,” she said, “but most importantly, it’s given us and our clients the peace of mind that our archive content is stored securely on a long-term archive medium.”
“LTFS archiving takes the guesswork out of carrying today’s work into the future.”
- Greg Gabry, Operations Manager, Territory Post
Territory Post is a creative editorial, motion graphics, finishing and sound design boutique that produces TV spots, corporate films and web content for Cadillac, Chevrolet, Ford, Fiat, Jeep and Toyota, as well as JBL, The University Of Michigan, and even the US Navy. The task of keeping all the creative assets secure for these productions falls to Cache-A’s Pro-Cache6 LTFS LTO-6 archive appliance. “We have developed a very concise and efficient workflow in-house, so that when a project is finished, it is all in one place on our central shared storage,” says Greg Gabry, operations manager at Territory. “Whoever is tasked with archiving a project need only go to one location to find everything they need to archive the entire project. Thanks to Cache-A, and the Pro-Cache6, archiving is literally no more than a “drag and drop” process, and that’s pretty darn cool.”
“Cache-A makes LTO archiving very accessible, and their solutions are scalable – they can grow as your requirements grow.”
- Karma Foley, archivist, Smithsonian Channel
Smithsonian Channel, a joint venture between Showtime Networks Inc. and The Smithsonian Institution, maintains a large collection of original field footage, as well as production copies of archival footage from the Smithsonian Institution, the US National Archives and organizations such as NASA. To keep these treasured assets protected for the long-term, while also maintaining a working archive, Smithsonian Channel made the strategic decision to base its archive future around LTO-tape, using the LTFS format, and harnessed Cache-A archive equipment to undertake this vital aspect of its work. Older productions, shot mainly on videotape, are now being systematically digitized, and transferred to LTO-tape, alongside newer programs, that have been shot and post produced using file-based tools and formats. Archivist Karma Foley says, “We looked closely at several companies offering LTO appliances, and felt Cache-A was the most approachable and offered the most user-friendly technology. Very attractive to us was the Cache-A web interface that allows staff in different areas of the office to write tapes and retrieve materials. Furthermore, we did not want to be locked into software or hardware decisions in the future, so we really liked Cache-A’s commitment to supporting open file formats, with tar and LTFS, as this would allow us to retrieve material down the line irrespective of the appliance in the future.”
“When it comes to archiving, you get what you pay for. If you want to save yourself a lot of time, and grief, buy Cache-A. It works.”
REDLab Digital is a full-service, post-production facility, providing services to a variety of major Hollywood movies, TV series and commercials– from on-set dailies, editorial conform to DI grading, plus VFX, sound and digital mastering, including DCP for theatrical release, and archival. “We needed a bullet-proof solution, from the most reputable manufacturer, that would perform flawlessly right out-of-the-box,” says Andy Hunter, owner and Flame artist at REDLab. Asking around, and researching on-line, Cache-A was the name that kept coming up, discovering that Cache-A build systems are specifically designed the media and entertainment industry. Ultimately REDLAb found the performance of Cache-A archive appliances, and features like Simul-Copy, to be, “Authentic and absolutely rock-solid.” The company now uses Cache-A LTFS LTO-tape archive appliances; Power-Cache6 with Simul-Copy™ LTO duplication & 10GbE throughput and Pro-Cache5, with a single LTO-5 tape slot, plus 10GbE connectivity, as its frontline toolset to deliver fast, long term protection for original, digital camera negative, and other crucial post-production assets.