Video Editing Archives

Video Editing Archives

Video Editing Archives

Video Editing Archives

The best digital storage for video editors — 2020

In this guide, you’ll find a list of the best storage drives on the market today, hand-picked by the Videomaker editors. Then, we’ll look at two important factors that need to be considered when purchasing storage of any type.

The Best Storage for Every Workflow

RAID Storage

When you have lots of data to store and protect, and you need to access that data often, a RAID is going to be your best option. RAID stands for Redundant Array of Independent Disks. They usually look like a tower or rack-mounted system. They can offer massive storage capacity, data protection through redundancy and blazing fast read and write speeds — though not necessarily all at once.

Capacity

RAIDs provide these benefits through the use of multiple storage drives configured to work together. That means a RAID needs at least two paired drives to work. However, enclosures can include up to eight or more drives. This means RAID systems can come in higher capacities than are possible with single-drive solutions. As you can imagine, larger capacities come with a larger price tag.

Redundancy

Another benefit of using multiple drives in coordination is that you can configure your system to duplicate data across drives. This provides redundancy. It protects your data so that, if one drive fails, you won’t lose everything. If you want maximum redundancy, configure your RAID in RAID 1. This configuration mirrors your data, storing exactly the same information on two matching drives.

There is one caveat to this, however. With most hardware like this, only the drives have backups — not the system. If the power supply, RAID controller or other hardware on the unit fails, the whole system may be non-functional. In a case like this, the data may still be on the drives, but recovery might be difficult since many RAID controllers write data to drives differently. So while RAIDs are generally safer than non-RAID drives, you should still keep another backup of your data elsewhere.

Speed

In addition to the type of drive, the number of drives can also affect speed. Depending on the setup, RAIDs can process information faster than single drives thanks to their ability to access multiple drives simultaneously. RAID 0 stripes your data across multiple drives. This provides no redundancy and so we don’t really recommend it, but if you need the speed, it is an option. A better choice would be RAID 10. This configuration provides the redundancy of RAID 1 mirroring without sacrificing as much in terms of speed. RAID 10 requires a minimum of four drives, so consider this when shopping for a RAID enclosure.

Other RAID configurations include RAID 5 and 6. These both offer striping and parity for faster speeds along with data protection.

Best Raid

G-Tech G-SPEED Shuttle T3

Strengths:

  • Up to 1000 MB/s write speeds in RAID 0

Weaknesses:

  • Drives are not hot-swappable

The G-Technology G-SPEED Shuttle with Thunderbolt 3 is fast, stout, and highly configurable, but it all comes at a price. The Shuttle can be configured from 16 Terabytes (TB) all the way up to 48TB. 

From the factory, the Shuttle comes pre-configured in RAID 5 formatted in HFS+. Factory formatted saw a read speed of 553 MB/s and a write speed of 765 MB/s. RAID 5 in HFS+ gets the best performance with redundancy from the Shuttle. If you have a PC, formatting in exFAT does not significantly hinder the performance with a read speed of 551 MB/s and write speed of 761 MB/s

G-Technology says it has up to 1000 Megabytes per second transfer speeds and we saw that and some with an average of 1028MB/s in RAID 0. The Shuttle has a hardware RAID controller and is capable of being configured with 4TB, 6TB, 8TB and 12TB drives, or with two 10 or 12TB drives and two EV bays.

The cost of the Shuttle is high, but it offers a great product for the price. The transfer speeds were good enough to work off of regardless of the type of footage you are working with. If you need large storage with redundancy, want it portable, and need dependency, you should strongly consider the Shuttle.

Network-attached Storage

If you are working on multiple computers and you need maximum storage, you might want to consider Network Attached Storage (NAS). These units are different from a simple storage array in that they are designed to be accessed directly through a network. Normally the drives are for storage only and feature a bank of open ports for HDD or SSD. Units can be chained together for massive amounts of storage. NAS is a great solution for back-up or recovery.

It is also possible to configure a NAS to have internet connectivity and it will act as your own personal cloud. You don’t even have to leave your computer powered up to get remote access. If you’re working in a small company with multiple computers, users and projects to archive, then networked attached storage (NAS) may work best for you.

Best NAS

QNAP TVS-1282ST3

Strengths:

  • Lots of features
  • Four Thunderbolt 3 systems can connect simultaneously

Weaknesses:

  • Much slower using Thunderbolt 2

The QNAP TVS-1282T3 is feature-rich and relatively affordable. Sold empty, the TVS-1282T3 features 12 bays you can fill with four SSDs and eight HHDs. It also has two M.2 SATA III slots and comes with an up to 3.6GHz Intel Core i7-7700 quad-core processor. Finally, this NAS comes with 64 GB of 2133 MHz DDR4 RAM, two 10GbE and four 1GbE ports. It supports RAID 0, 1, 5, 6, 10, + Hot Spare and JBOD, and it offers up to 1600 MB/s file transfer speeds. The drive trays are removable without a tool and support SATA M.2 SSDs with 2242, 2260, 2280, and 22110 form factors. More exciting are the four Thunderbolt 3 ports with up to 40 gigabits per second bandwidth that can connect four Mac OS and Windows machines. The NAS is unique because it’s capable of using both SSDs and HDDs.

The QNAP TVS-1282T3 offers a ton of configurations, features and has some impressive data transfer rates. More than just a RAID, this NAS could be the cornerstone of your production workflow. We liked how many different ways you could connect to it, and it impressed us with some fun features that, to the right user, will be immensely useful.


Internal Storage

An internal drive is going to give you the speed advertised, but you have to know if your computer can handle a new or additional drive. This includes knowing the type of connection available and the physical drive dimensions that your system will accept. If you don’t have the expertise, you might need to take your computer down to a local repair shop and get some advice. If you’re comfortable with a DIY approach, check out our guide to assembling a PC for information on installing drives. For internal storage, we recommend a large hard disk drive with substantial built-in cache and a higher RPM rating to increase performance.

Best Internal Drive

WD Black 4TB Performance Desktop Hard Disk Drive

Strengths:

  • 5-year warranty
  • Dual-core processor

This internal SATA hard drive comes in multiple capacities up to 6TB to accommodate a large number of video files. It offers a dual-core processor and DRAM cache up to 256MB for faster access to data. The WD Black Performance Desktop Hard Disk Drive comes with a generous 5-year warranty.


Portable Storage

RAID, NAS and Internal storage solution generally stay put in a single location. However, as workflows become less centralized, you may want to be able to work on your project from home and at the office. You may even want a smaller, rugged solution for travel.

When it comes to portability, an SSD is going to be your best option. With no moving parts, there is no chance of the mechanical failures that would crash a spinning disk hard drive. SSDs are still susceptible to other types of failures, but this difference does make them a better option for portable drives that will be moved around a lot.

Speaking of portability, there are several solutions that are wireless and so you can transfer data directly over Wi-Fi or even remotely with an internet connection back to your home station. You can even find battery powered storage units, so it’s possible to transfer video directly to your hard drive while you’re still in the field or in the car on the trip back. You are no longer limited to the size of your memory cards.

Best Portable Storage

SanDisk 1TB Extreme Pro Portable SSD

Strengths:

  •     Read/write speeds
  •     Portability

Weaknesses:

  • Higher price than average

Built with NVMe technology, the SanDisk 1TB Extreme Pro Portable SSD can provide fast read speeds, clocking in at up to 1050 MB/s and fully saturating its USB 3.1 Gen 2 interface. The SanDisk 1TB Extreme Pro Portable SSD can connect through USB Type-C or USB Type-A with the included adapter. Furthermore, the SSD is compatible with Windows and Mac systems without any drivers.

The SanDisk 1TB Extreme Pro Portable SSD is focused on portability, proving to be both lightweight and compact. It is a great choice for those that have limited physical space while transporting data. Also, it’s built to be durable with an aluminum body and silicon rubber coating. Its body can dissipate heat while the rubber coating protects against impact.

So, if you need to transfer your data quickly and securely, with read and write speeds of 1,050 MB/S and 1TB of storage, you should consider taking a look at the SanDisk 1TB Extreme Pro Portable SSD.

Budget Storage

Sometimes, you just need something that works. This is where budget drives come in. They may not have the quality assurance that comes with more expensive drives, but they can still provide adequate capacities and speeds for video editing. If you’re on a budget, compare options based on cost per gigabyte and be prepared to make sacrifices in either read and write speeds or storage capacity. It’s also likely that cheaper drives will have a short lifespan, so make plans to replace your storage drives more frequently.

Best Budget Drive

Seagate 5TB Backup Plus USB 3.0 External Hard Drive

Strengths:

  • Small form factor
  • Plug and play

Weaknesses:

  • More fragile than solid-state drives

This affordable external hard drive from Seagate comes in 1, 2, 4 and 5TB capacities, but for the price, we recommend opting for the full 5TB version of this drive. With USB 3.0 connectivity, you can expect file transfer speeds adequate for basic storage needs. It has a 28MB cache and a spindle speed of 5,400 RPM. It has a max speed of 120 MB/s. It is also compatible with both Windows and Mac. So both communities can use this drive. The drive comes formatted as exFAT, and Seagate promises simple plug-and-play functionality with no additional software installation required. However, if you do download Seagate’s Toolkit Backup Software, you can backup on-demand or schedule automatic backups.

The Seagate Backup Plus is compact enough to easily store and transport, but note that the spinning disk in this drive is more fragile than an SSD storage solution, so rugged use is not recommended.

Cloud Storage

With all this discussion about data storage, you might be asking if a cloud solution might be a more cost-effective way to go.

The cloud might be just what you need but remember that all servers and plans are not created equally. Make sure you read the fine print. Does the plan have any additional charges related to going over your data limit? How do they ensure file security? Will they offer redundancy and tech support if a file becomes corrupted? If, for some reason, your account becomes delinquent, what happens to your files?

Keep in mind that your transfer speeds are going to be limited by your internet connection speed. That means, while running down to the coffee house to finish up the project over a latte sounds romantic, it may take a very long time to access your footage over the crowded Wi-Fi. Cloud storage may be better suited for archival purposes rather than use as a working drive while editing.

Ultimately cloud storage is a matter of trust. You are trusting that the server company is reliable and secure. You may find yourself wanting a “backup for the backup” — just in case.

Best Cloud Storage

Backblaze

Strengths:

  • Unlimited storage
  • Simple interface
  • Data restore via hard drive option

Weaknesses:

  • Each account is limited to one computer

Backblaze offers unlimited cloud storage and backup for PCs and Macs starting at $5 per month for individuals. Business options are also available. The service automatically backs up and syncs all the files on your system and promises unlimited upload bandwidth. That means your transfer speeds are only limited by your internet connection. 

The Backblaze desktop software is simple to use with an uncomplicated control panel that displays the status of your backup. You can set up automatic or scheduled backups with options to restore multiple versions, choosing from 30 days, 1 Year, or Forever Version History.

You can restore an unlimited number of lost files from the cloud for free. Plus, Backblaze will also send you physical drives containing your data for a fee. Stored data is protected with encryption, two-factor authentication, a personal key and the use of native software rather than a Java-based control panel. Data centers are also said to be highly secure and protected from power loss.

Two Crucial Questions: Capacity and Speed

No matter what kind of storage you’re shopping for, you’ll inevitably need to answer two crucial questions:

How big does your drive need to be?

The size of the storage is the first question you’ll need to answer while shopping for storage solutions. Data storage is a question of bytes. A megabyte (MB) is about one million bytes. A gigabyte (GB) is about a billion bytes or 1000 MB. And a terabyte (TB) is about a trillion bytes or 1000 GB. Storage today is going to be a matter of hundreds of gigabytes or dozens of terabytes.

Video produces a lot of data. It’s good practice to sit down and calculate how much space your project will take up. The amount of storage your video will require depends on the bit rate at which that video is recorded. This is measured in megabits per second (Mbps) and Gigabits per second (Gbps) or even Megabytes per second (MB/s). The higher the bit rate, the more storage space your video data will require.

How fast does your drive need to be?

The bit rate of your video will also help you determine how fast you need your drive to be. If you want to directly edit video stored on the drive, you’ll want a solution with transfer speeds that exceed the bit rate of your footage. It will also need to meet the minimum requirements of your OS and editing software. Otherwise, you won’t get smooth playback as you edit.

SSD vs. HDD

When shopping for storage, you’ll need to decide between a solid state drive (SSD) and a hard disk drive (HDD). Solid state is also referred to as flash memory. It’s a small chip that contains memory with no moving parts. A hard disk, or spindle drive, has a physical, spinning disc that stores your data. As a rule, SSD drives are faster than hard disks but almost always cost more per gigabyte.

If you go with an HDD, speed will be determined by the drive’s revolutions per minute (RPM). As you would imagine, the higher the RPM, the faster the drive can access and process the data.

Connection Type

Internal drives connect to your system via either SATA or PCIe connectors. SATA drives are more common and cost-effective while PCIe drives deliver maximum performance.

If you decide to go with an external drive, the connection type will affect the speed of the data transfer. USB is the most common type of plug for most computers, but not all USB are created equal. USB 2.0 can transfer data at 280 Mbps, while USB 3.0 can transfer data at a whopping 5Gbps. Faster still is a Thunderbolt connection, which has speeds up to 40 Gbps with Thunderbolt 3. You can see that connection is going to make a difference.

Additionally, you can also have a no-connection solution. There are a number of storage options that are completely wireless. Some connect via your local Wi-Fi, and some can generate their own hotspot. That means that you can connect your storage to your device when you are in an area without Wi-Fi. The challenge, as with cables, is that your transfer speed is dependent on your connection speed.

Which storage option is right for you?

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, Video Editing Archives

With the prolific rise of cheap USB drives, we can store more projects than ever before. You can carry terabytes of storage around for around $100. With digital real estate being so cheap, why is it so difficult to backup and archive projects and media on a regular basis?

The backup and archival process is a lot like going to the dentist — people know they have to go but somehow it always slips their mind or doesn’t fit into their busy schedule. But with the right hardware and methods in place, keeping projects and media safely stored can be done easily and with a lot less drilling.

Backup Protocols

USB drives can be your best friend if you cannot afford an expensive media server like an ISIS 5000. A quick web search will show results of 3TB USB3.0 external hard drives for about $130. There are a variety of drives available including highly-recommended RAID (Redundant Array of Independent Disks) drives which provide redundancy to the data in case part of the drive fails.

There is a way to create a redundant backup system of media by rotating three non-RAID USB drives. Here’s how the system works:

  • Drive #1 is the master drive that you work off of.
  • Drive #2 is the first backup drive.
  • Drive #3 is the second backup drive.
  • On week 1, COPY Drive #1 to Drive #2.
  • On week 2, COPY Drive #1 to Drive #3.
  • On week 3, DELETE Drive #2’s contents then COPY Drive #1 to it.
  • On week 4, DELETE Drive #3’s contents then COPY Drive #1 to it.
  • Continue repeating the steps for weeks 3 and 4.

The benefit to this is that there is always at least two copies of the media. Some editors have several master drives. In that case, create folders inside the backup drives that label Master Drive #1 Backup, Master Drive #2 Backup, etc. Remember to physically label the drives. Some yellow gaffers tape and a sharpie work great. When using multiple master drives it is beneficial to tape a list of what projects’s media on is them.

A schedule is key to the backup system working. The media drive backup should take place at least every week. Elements should be backed up in a similar fashion at least every week if not daily. Most importantly, projects need to be backed up everyday. Since projects are generally small in size, get an extra 1TB USB drive solely for the daily backup of them.

One extra note to mention about USB drives is that they must be turned on at least once a month. If they sit on a shelf in a closet longer than that, bad things can happen to the motors and other internal parts. Pull them down every couple weeks and fire them up.

Archiving Protocols

Digital archiving is another vital routine editors need to practice. A simple digital archive is a full-resolution file, like a QuickTime movie or MXF file, backed up to a medium like XDCAM, Blu-Ray or a USB drive. Regardless of where the file is stored, it’s important to have it for two reasons.

  1. It’s a failsafe in case the hard drives containing the media and project die. This should never happen if they are properly backed up though.

  2. It is far simpler to throw a full-resolution QuickTime into encoding software like Sorenson Squeeze or Adobe Media Encoder and export a .mp4 file than to reload the media off a hard drive, open the non-linear editing (NLE) program, quality check the sequence then export a .mp4 (that’s even if the NLE exports .mp4!).

There is a case to be made against exporting a full-resolution QuickTime movie because it will take up drive space and a few hours to create. However digital real estate is cheap, so you don't have to be too stingy. Back in the analogue days, how long did it take to stripe a tape, set the bars and tone, print labels and record at real-time let along having to re-ingest or capture off the tape if it’s needed again?

Conclusion

Many future headaches will be saved with a small investment and a firm schedule of backing up and archiving projects and media. Do you have other methods? What works for you?

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Video Editing Archives

Archive File Formats - Video

Richard Harrington and Peter Krogh

Introduction

Due to the large file sizes and the use of numerous codecs, archiving video is a complex topic. The dependency on specific codecs creates a potential for footage becoming inaccessible. And project files carry an inherent risk of obsolescence, as NLE software and the formats it understands are constantly moving targets.

Most users choose to archive their original camera media as well as digital master files of their completed programs after editing. recommends that you archive both your source footage and multiple self-contained video files of the completed project. It is also a good idea to store copies of the project file that contains the instruction set on how the source files were assembled.

For client work, archive decisions often come down to a matter of cost. Some clients are willing to pay for archives while others are not. Additionally, many clients assume that the production company has archived everything, so be sure to clarify assumptions. The use of longterm media formats such as LTO tape and optical media has made this process easier, but it is still neither easy nor cheap.

Create a digital master of the finished production

When a project is done, you’ll often make several digital files for delivery. Typically these files are heavily compressed as they are intended for playback on portable media devices or the Internet. While you will probably want to archive these files, you’ll also want to save a digital master file with the least compression that is practical.

A QuickTime movie using a low-compression scheme is a good format choice for your digital master file. Popular codec choices include the Apple ProRes 422 (HQ), Avid DNXHD, Cineform, or Animation codecs. These files may be very large, but they ensure a high-quality digital file that can be used to make additional digital derivatives.

Archiving a master to tape

It’s very common for people who make or commission video to render and archive a master copy of the production to some form of tape. This is frequently done even though there may be multiple copies of the digital files on various hard drives or other media. A finished master copy written to tape provides a backup version that may not be subject to the same codec uncertainties that other digital copies have.

If you don’t own a system capable of creating a digital tape, you could send a master digital copy to a production house and subcontract the process. You could also write the file out to Blu-ray disc to create a high-quality version that is not so dependent on installed codecs.

Camera original files

In addition to the finished master version, it will generally be advisable to archive the camera original files. There are a few key considerations when creating these archives.

  • Maintaining file structure: It is a best practice to maintain an exact copy of the file structure of the original source media files when copying to a backup device. The additional metadata and folder structures are often needed to assist editing software in properly importing and interpreting the camera data, particularly for AVCHD.
  • Redundancy: If you have only one copy, it is not backed up. Be sure that the media exists in at least two locations and uses at least two formats of backup. While hard drives are cheap, they are not a permanent solution. Many turn to optical media such as Blu-ray discs or tape-based archives like LTO, DLT, and AIT.
  • Use software: Many use software tools to ensure a complete copy of the disk image. Tools like Final Cut Pro X have a camera archive feature that supports certain formats (not DSLR cameras, however). Another popular choice is ShotPut Pro (www.imagineproducts.com/ShotPut.html) which can automate copying of tapeless media to up to three separate locations. It also has a great set of tools for verifying copies and, creating additional backups to optical formats.

Project files

The project file created by your nonlinear editing software truly is intellectual property. If you ever need to make a change to the video after the creation of the digital master, it will probably be easiest to do so from the original project file. Of course, this is only so if the project file can be opened, and all the clip files can be easily reattached. You will want to take great care to ensure that the project file is archived to multiple locations and multiple media types.

At the end of a project, it is also a good idea to export additional versions of a project file. Over time, manufacturers often evolve their project file formats. Some even drop support all together (such as Apple did in its initial transition from Final Cut Pro 7 to version X). Most editing tools can export an EDL (edit decision list) and XML (eXtensible Markup Language) file. Storing a copy of each with the archived project is a good idea.

Verify your project archive restoration

As you come up with ways to archive your project and the associated media, it’s important that you double-check your ability to restore the project at a later date. Project files expect the source media to be in a particular place, and their ability to reset those connections to new locations varies by application. In some cases this will be nearly automatic, and in others may not even be possible.

Before you archive a lot of project and media files, you’ll want to make a test. Save a test project out to your proposed archive location, and then go through the steps to open it up again. Ideally this restoration test would take place on a different computer or with the project sitting on a different drive than the original location.

Removing unused media from the project file

When you archive a completed project and the associated media, you will almost certainly have a bunch of stuff that was not used in the finished product. This may include a lot of unused source footage, and it may also include temporary render files. In some cases, it will make sense to include all of this with the archived project, and in some cases you may want to remove some of the files to save space.

There are a number of factors to balance here. These include the total size of the data, the value of the project, the prospective need to repurpose the project or footage, the need to revisit the project, and more.

For a high-value project that only takes up a couple hundred gigabytes, it probably makes sense to archive everything. If the project has limited audience and a ton of transcoded footage, then it might make sense to trim off the unused transcoded footage when you send the project to archive.

In the end, you’ll have to make the decision of what to cut according to your own valuation of the project in the context of the archiving costs.

Imported/transcoded files

If your editing system transcodes or re-wraps the files into a new format, it is important to back that media up as well. Editing tools like Final Cut Pro X have a complex event and project structure that must be fully preserved with all media in exactly the same place. Other tools have greater flexibility, but the easiest way to open and revise a project is with the project completely archived.

A video editing project may also contain items like music or graphics. These should also be backed up as part of the project. Most nonlinear editing tools offer a project manager capability. These features can remove or trim unused footage as well as consolidate intermediate files like renders and caches. They can also target a specific drive or directory for backup.

Format obsolescence

A major challenge with regard to the preservation of digital video files is the long-term readability of file formats. This is especially true since there are so many competing formats and codecs in the video editing market.

The sheer number of compressed and raw formats leads to many potential problems. We have seen rapid evolution with video codecs as well as camera acquisition formats. Even if workflows exist to recover discontinued formats, it often means re-compressing or reprocessing the assets which can lead to a loss in quality.

Adobe is currently trying to establish the Cinema DNG standard (http://labs.adobe.com/technologies/cinemadng/). This effort is very similar to the DNG efforts they implemented for digital photography. They have yet to experience a wide-spread adoption by the industry (to the same level as MXF has for acquisition formats). However the effort has merit and bears close observation as it could standardize the industry and remove several barriers in the process.

Preserving a legacy system

Okay, we hate to even bring this up, but it may be necessary for some people. In some cases, it may be necessary to actually preserve legacy software or even an older computer in order to retain access to project files. If you make a big change of computer platform or NLE software, your older projects may be totally locked out of the new system. For projects with long-term value, this might present a real problem.

The biggest challenge here is that the old computer system may stop working at some point, and you might not notice until you have an actual need for it.

There are any number of issues which could make that old computer sitting in the storage area non-functional.

Software often relies on the OS for lots of its capability. When you upgrade your OS, it may make the software non-functional.

Any video archive that relies on legacy software or hardware presents ahigh inherent risk of invisible failure.

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