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iodyne released the new firmware version 1.3 for the Pro Data Thunderbolt Raid storage solution, available with 12TB, 24TB, or 48TB SSD. The user interface has been improved to manage multiple storage devices, verify and ensure the secure erasure of your data, and incorporate new progress indicators. The Pro Data is available from $4,450 directly in the iodyne webshop. So, let’s have a closer look!
If you are looking for uncompromising speed and reliability when it comes to editing, the Pro Data could be an interesting solution for you. If you haven’t heard about this product, please read our review article and watch our review video below:
iodyne released the new firmware version 1.3 that adds a few new, interesting features to the Thunderbolt Raid. For example, there are new progress indicators available in the status tab for Data Scrub and RAID resolving activities and various other improvements.
In certain situations with bigger productions and many contributors, you might have to daisy-chain multiple Pro Data devices. Now you can do this and use the new all containers function to group the containers by the device. You can eject all containers at once so Pro Data can be safely disconnected and powered down, and you can also use it to eject all containers from multiple Pro Data units at once.
With the new Storage Handoff function, containers can be passed between workstations like virtual shuttle drives. Now you can eject the container from the source and mount it on the target.
You can verify the integrity of your data with a background Data Scrub, and if Pro Data finds an error, it will use the parity to heal the affected block. This feature instills a significant amount of confidence in the hardware.
Sometimes it’s more important to erase data without verifying it, and now you can cryptographically erase all data.
Media production can involve more than single-camera filmmaking, and especially when broadcasting live events, the technical effort can be enormous. Imagine a multi-day music festival with several stages, more than 20 cameras, and up to 6 editors working on the material.
This is not for an after-event film. It has to happen as fast as possible because you want to show the footage on the video screens right at the festival. Now you can scale up to 18 editors working on the footage at the same time. I know this sounds like an extreme example, but as I mentioned before, the Pro Data Raid might not be for everyone.
Fast and secure workflows are also quite important for film and television productions. You can use end-to-end XTS-AES-256 encryption and a secure enclave for encryption keys to protect your footage from any unauthorized access, but Pro Data can also be used in a RAID-6 configuration with protection against data loss or possible SSD failures.
The DIT might be quiet most of the time, but a lot of responsibility comes with the job and it must be 100% reliable. With Pro Data, you can copy at full speed from multiple sources simultaneously and use end-to-end encryption. You can also handle speed grades or rough cuts directly on the film set without time-consuming proxies.
Up to four contributors, like editors, color artists, or VFX specialists, can work on the footage in real-time without rendering any additional proxies.
The process of creating a film can be very time-consuming, and by the end of the post-production phase, time and financial resources may be limited. A fast and reliable data source for editors, colorists, and VFX artists who can work in full resolution can be a real benefit. You can also expand the storage dynamically by adding more devices to your Thunderbolt daisy chain.
You can purchase the Pro Data SSD RAID system directly at the iodyne web store in three capacity versions:
For further information, please visit the website of iodyne.
What storage solution do you currently use for media projects? Would you prefer the iodyne Pro Data? Do you think it is worth the price? Please let us know your thoughts in the comment section below!
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Jürgen Moors is a freelance filmmaker based in Vienna Austria. As a pilot he is passionate about all sorts of aerial photography, but he is also working on the ground as a production manager, producer, director, editor and camera operator. Jürgen has over 35 years of experience in several departments in the film business.