ROUND TABLE
THE PANEL Richard
Definition: How can you ensure the security and integrity of film production assets throughout the entire workflow? Chris Luff: For many customers, security is an absolute non-negotiable throughout a shared storage workflow. Measures like granular permissions and access control, checksums for data integrity, encryption, file/project locking, an automated multi-location back- up strategy, and most especially user auditing and monitoring, can help to ensure the overall safety and security of your film production assets. Stephen Tallamy: Ensure authorised users only have access to the material they need, as part of enterprise-wide protocols against cyber threats. You don’t want your content getting out; you don’t want other material getting in. It’s also important to audit activity against the storage so any incidents can be tracked down to who, what, when and where. This is where tools like EditShare Guardian provide immediate insight into operations on the file system for diagnosis within EFS, or to send to external security management tools. Also, ensuring the operating system and associated libraries are up to date is critical to any intelligent storage solution, so storage systems need to stay aligned to the latest operating system versions and have the ability to install security agents such as CrowdStrike. Richard Warburton: Follow a 3-2-1 data policy (three copies of your data, stored on at least two different storage mediums, with one copy in a separate location to the others). LTO tech offers great data integrity for the lowest cost per TB, making it ideal for securing multiple copies that are also ‘offline’ and therefore impervious to attack or corruption. At Symply, we offer a comprehensive range of stand-alone LTO solutions that have been designed with media workflows in mind, with LTO now the de facto choice for source and final master archives, and incremental
back-ups. For instant access storage, our private cloud solutions provide on-premises or on-location S3-native object storage that keeps content secure through 256-bit encryption, object immutability (WORM), and comprehensive audit trails. We can even deploy embedded applications on our storage appliances or connect with cloud-based services to tightly integrate them with workflows, and further monitor and manage data. Def: What factors should filmmakers consider when choosing between cloud-based and on- premises storage solutions? RW: Accessibility and cost. Everything good about public cloud can also be a negative. It’s great that someone else is looking after your data, but that data is external to your organisation so you may experience issues with performance, availability and security. Cloud is an operation cost following a subscription model, but over time that can clock up (and is unpredictable in most cases), and it will end up costing more than on-premises solutions. Private cloud deployments address a lot of issues users have started to experience, so is a good option to consider for on-premises storage that provides the functionality and integration of the cloud. ST: Cloud provides you with access from anywhere, making it attractive if you have remote workstations in the production pipeline. If work can be concentrated in one or two post houses, the costs and time penalties associated with getting material out of the cloud may well make on-premises storage more financially attractive. Calculate on a project-by- project basis. CL: When choosing between an on- premises solution and a cloud-based solution, all else being equal, there are two main considerations: speed and cost. On-premises storage solutions tend to offer faster performance with a larger upfront investment, serving long-term
Warburton Director of product, creative at Symply
Stephen Tallamy CTO of EditShare
Chris Luff Territory manager, Studio Network Solutions (SNS) Simon Parkinson Managing director of Dot Group
Stefanie Sears-Black Head of business
development, memory & storage at Samsung Electronics UK Ltd
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