Finding the Space: The Search for a Better Storage Solution.

After shifting from 5K to 8K, we decided it was time to upgrade the way we handled digital media storage.

Joey Correa
Apr 22, 2020 · 8 min read

The Spry Equipment Setup

The Old Ways

In our current media management process, after every shoot, we arrive back in the office with two separate 2tb G-Drive Portable Solid State Drives. Both of these drives have identical copies of all raw media recorded on set. The media on those travel drives are then transferred onto the permanent external working drives for the project. While work is being done on the project, we’re also transferring all of the media and regularly backing up project files to our current office NAS, a Drobo system we call the “Work Drive”. Our projects are never only in one place, eliminating the possibility of file loss.

The Magic and Misery of an 8K Workflow

Previously, only one of our two edit suites had a machine powerful enough to handle 8K. The other had an older iMac that was quickly showing it wouldn’t be up to the task of handling raw media of this size, and this was beginning to bottleneck our post-production pipeline when enough work would flow in. This is the thinking that led us to upgrade our second edit suite.

We decided to go with the newest-model Mac Pro. A 36-month lease that will cost you about $250 a month from Apple’s leasing program afforded us a 12-Core Intel Xeon W processor that can boost up to 4.4GHz under load, 32gb of RAM, and a Radeon RX 580 8gb graphics card. I know what you might be saying here. 32gb of RAM is child’s play. We knew you would say that, so we thought ahead and purchased 64 extra gigabytes of aftermarket RAM, which we installed ourselves, saving around a thousand dollars in total by not purchasing through Apple. We paired two LG Ultrafine 5K monitors with this setup to enhance our color-correction capabilities and truly harness the power Davinci Resolve offers our post-production team.

The Problem

We’d already been a few months deep into our storage research at this point. Countless friends, colleagues, peers, and Youtube videos pointed us in the direction of home and small-office-based NAS systems like our current Drobo setup, or other similar brands like Synology or Qnap. These products are fine machines with great specs but our main goal always eluded us: we were looking to be able to have two or three editors simultaneously pulling 8K footage from one single source. How do we achieve this for under $50k? Anyone who recommended a pre-built NAS system couldn’t give us an answer as to whether or not their recommendation could handle multiple streams of 8K R3D footage simultaneously and the custom-built solutions that could achieve this seemed just out of our grasp.

What is a NAS?

The Solution

SNS requires that you work with a local representative, ensuring the product you invest in works for your needs; this vendor is also able to assist with installation if needed. Having a human being on the other end of a phone, or by your side in the office, is much more effective than scouring a confusing manual alone.

We have to thank our SNS representative Stephen McKenna for helping us find exactly what kind of system we needed to fulfill our goals. We decided to go with the 8-Bay EVO with a DIY configuration. This means we built out the server rack and installed the EVO system ourselves, and then had a call with SNS to finish the setup. SNS offers a wide range of products, including more turnkey systems and professional installation for the less tech-savvy.

Our 8 Bay EVO NAS system has two 10 gigabit ethernet ports, each running directly to one of our two edit suites, allowing 10-gigabit hardline speeds for each of our edit suites. Down the road, we could even add an expansion device to add a third hardline edit suite to the setup if we choose to. Currently, we have about 40TB of working space open for new projects to be loaded onto EVO, running in Raid 6 with an additional hard drive “spare tire” stored in the office in case we should have a drive failure. These drives run us around $900 each and take about a week to ship, so it’s good to keep a spare on hand.

Based on the specs SNS provides for the 8 Bay model we’re currently running, EVO is theoretically capable of transmitting two streams of a single stream of 8K R3D footage per workstation without experiencing lag. It’s best to think of streams as Premiere video layers. So, in theory, we can have both of our edit suites each playing a timeline with an 8K layer simultaneously with no lag. We currently work with 720p, Prores proxies with the height decided based on keeping a 16x9 aspect ratio. If we were to even improve our proxy quality to reach 1080p resolution, our stream capabilities would increase to around 12 simultaneous streams per user. With EVO, our editors and colorists are now able to easily maneuver between projects, streamlining the post-production pipeline and effectively doubling our output capabilities.

Closing Thoughts

Product Links:

22U 36in Rack Cabinet

12cm AC Fan Kit


EVO Spec Sheet:

Staying Spry

A collection of thoughts from Spry, a Creative Agency in…