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Has anyone seen him? He was supposed to be here half an hour ago!" In the dark, I hear voices discuss the first emergency of the day as I walk past a trailer on Day 2 of a commercial shoot. The sun isn't up, but already confusion and stress have made their entrance. Day 2 is always the worst.

As productions return to work, they are faced with the realities of what it will take to create the safest possible work environment. While some locations have specific restrictions, including quarantine requirements, there are some universal precautions that will apply to shooting in any location - such as implementing staggered work shifts and/or the zone system, increasing off-set work, and limiting contact.

The Cloud itself is pretty simple, but for broadcasters, leveraging it can be complex. It isn’t that difficult technically, but Broadcast still straddles requirements that demand real time, high resolution, quick turnaround solutions; and this is coupled with the need to connect geographically separate locations, reduce costs, and extend access to assets for multi-format distribution. All of this has meant that the conversation about the Cloud has evolved rapidly from asking the basic question “What can I do in the Cloud?” to trial projects and implementations that are now underway or under evaluation.

Quantum recently announced advancements to its award-winning StorNext file system and data management software, designed to make cloud content more accessible. The new StorNext will enable hybrid-cloud and multi-cloud use cases, delivering greater flexibility for media and entertainment customers and other data-intensive environments such as genomics, academic research, video surveillance, oil and gas and government security.

The M&E industry was one of the most heavily impacted when the pandemic hit. Demand for online content for entertainment and education increased dramatically while in-person video shoots were put on hold to allow for social distancing. The industry needed to shift almost overnight to computer-generated animations, visual effects, and repurposing content libraries. As the pandemic stretched from months into years, organizational and talent resources became much more decentralized and distributed geographically and across the various technology platforms used. And with that, the ever-increasing amounts of data followed the same pattern – outgrowing decentralized and distributed data management models.

Today’s reality TV productions are ambitious in their size and tight broadcast schedules, requiring a multitude of impressive engineering feats. When not tracking every move of a housewife, psychic medium or celebrity, other shows such as Hell’s Kitchen, America’s Got Talent or The Voice closely follow the progress of contestants and are broken up into segments: the documentary portions that tell the back stories of contestants, the behind-the- scenes shots that show the contestants preparing for the competition, and then the (sometimes live, sometimes not) actual competition portion itself.

There are still a lot of unknowns as we look ahead to 2021 and how the pandemic will continue to impact the media industry. What media companies can do, however, is learn to become more flexible with their plans as they prepare for the year ahead. It’s something we’ve all had to learn and do over the last eight months.

The DIVArchive CSM system will serve as the heart of the Yankees' editing and production environment, managing the team's digital assets and making it possible to repurpose the content to enhance productions. Learn about Front Porch Digital's DIVArchive, SAMMA migration and more from Jeff Matulich, Director of Sales and Business Development.

Shared storage that spans location and time is becoming increasingly common in modern digital media workflows. Cloud storage in data centers fills this role and it is finding many applications in media and entertainment from post production to content delivery and archiving. This article will look at some developments in cloud storage and moving content on the Internet from the 2015 NAB show.

Hollywood history is littered with bad movies. 1956’s “The Conqueror” is one of the worst in a crowded field of terrible films. John Wayne stars as Genghis Khan and things only get worse from there. While it suffers from a host of racists and sexist issues – and many more overall quality issues – the reason we are talking about it today is because nearly half the cast and crew contracted cancer.