Tv-bay Magazine

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CONTENT The importance of storage – lessons learned by Nino Leitner W hen I was a student in film school, I never put much thought into storage solutions for my film work. This was quite haphazard and looking back on it now, quite a foolish approach to work I cherished. Of course, my story has a nasty sting in its tail - one day I lost a year’s worth of university work, which I never got back. I was lucky that it didn’t stop me completing my studies successfully, but I defi nitely dodged a bullet. Since that painful lesson, storage has been as much a concern to my professional career as what camera to use on a shoot. For content creators, our profession is our livelihood. Any production relies on a host of technologies, all of which must provide quality outputs and perform at an optimum level, and the same demands should be made of storage devices. Simply put, cheap, off the shelf solutions aren’t suitable for the professional creative. With 4k becoming more prevalent, and fi les size increasing so rapidly, the need for reliable, desktop and portable, speedy storage solutions can no longer be pushed to the back of a professional’s mind. There are some simple tricks and tips for those working in the industry to ensure that none of their hard work is lost. Below I outline nine approaches which will help optimise your workfl ow and also ensure you look after all your content in the most professional manner possible. Having enough camera cards Most of us aren’t lucky enough to have a DIT on hand for the majority of our jobs, that’s why I bring countless camera cards with me, which I go through during an entire day of shooting. It saves me from having to back up in an on-set environment (which can of course be very stressful) and the more cards you have, the more your mind can relax and get on with the task at hand. days last 10-16 hours, so the last thing I want to face up to is additional hours backing up my work. If you use poor quality storage solutions, this will increase the needless amount of time you’ll be staring at a computer screen. Using fast drives I use industry-best hard drives from G-Technology to give me complete peace of mind over my content. I shoot a lot with my Canon C300 and I love to use my G-DRIVE ev (via USB 3.0) after a shoot. I make backups on the G-DRIVE ev and once I’m back in the studio, I create a third copy via the G-DOCK ev (via Thunderbolt) because it’s so fast – with up to 136 MB/s sustained data transfer rates. I love the G-DRIVE evs as they don’t require a main power source, simply hook them up to your laptop and they power up through USB, which lightens your gear bag while on a shoot – you can leave the power cable behind. Use fast cards If you can afford to invest in cards that are faster than your camera’s needs, it will make the backup process signifi cantly faster. Usually my shooting In my earlier days I used drives that were slower, and much to my horror one day dragged on for an extra 3-4 hours as I sat waiting for three backups to complete. Use transfer management software After a shoot, to make backing up my content as simple as possible, I use ShotPut Pro, a piece of transfer management software. It allows you to make verifi ed copies of your content for up to fi ve drives simultaneously. Most importantly, it will tell you if there’s a problem with a transfer so you don’t need to worry about doing it manually to each drive. Combined with my G-Technology drives, such software cuts down on my 48 | TV-BAY MAGAZINE: ISSUE 90 JUNE 2014