ROUND TABLE
DIGITAL ASSETS SHOULD BE TREATED as the core wealth of any PRODUCTION COMPANY” at least in the west. This will make connecting to a remote, seemingly limitless storage solution the default. We are already seeing this trend with major OTT platforms like Amazon and Netflix, who are taking care of all their data management in-house so that production teams draw from their back pocket at any moment. Independent producers, on a smaller scale, can and should adopt similar structures, to generate efficiency but also to allow them to stop worrying about IT. Production companies are not IT companies, and they should be able to dedicate their focus to what they do best: bringing stories to life with the best talent they can find.
scale as formats and file sizes grow? Answering these questions helps a production avoid overspending and under-preparing. DEF: Finally, looking ahead, what do you think storage for filmmakers will look like five or ten years from now, and how might that change the way films are made? PC: The cost of cloud storage is already plummeting, a trend that we’ve seen in the price lists of most major providers. In five to ten years, the landscape will evolve in step with internet connection speeds, which are already reaching optimal levels,
a cloud solution is necessary. If the data has to remain static and completely disconnected from the internet, an on-premises solution is the obvious answer. However, the business models that you’re able to build around the first option are exponentially greater than what you can do with a storage system locked away in a warehouse. JT: Filmmakers should ask: how much time do you want to spend managing the system versus using it? Do you want an off-the-shelf solution that just works, or a customised set-up that you can administer yourself? What data needs to be instantly accessible, and what can be archived? How can the system
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