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2018 Digital Storage for Media and Entertainment Report

  • ID: 4790729
  • Report
  • Region: Global
  • 254 Pages
  • Coughlin Associates
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Cloud Storage Revenue will be About $2.7 Bn by 2023

FEATURED COMPANIES

  • ABC
  • Data Direct Networks
  • Fox
  • Maxell
  • Oracle
  • SeaChange
  • MORE

This report is the fourteenth report on data storage in the entertainment and media market by the publisher.

Data storage is a key element in the digital transformation of content creation, editing, distribution and reception. Data capacity and communication speed increases, changing form factors, lowered product prices and the growing familiarity with digital editing, digital intermediates and various forms of digital distribution are key components in the continued growth and development of entertainment.

This report provides 254 pages of in-depth analysis of the role of digital storage in all aspects of professional media and entertainment. Projections out to 2022 for digital storage demand in content capture, post-production, content distribution and content archiving are provided in 65 tables and 125 figures.

Because of the large file sizes required for high resolution and multi-camera images, there is increasing demand for high capacity storage devices as well as high-performance storage. The entire content value chain of content creation, editing, archiving, distribution as well as consumer electronics content reception devices, provide an accelerating feed-forward mechanism. This drives growth in data storage for all entertainment content applications.

For many archiving and distribution applications where content is relatively static, low cost/high capacity SATA HDD storage, optical discs and tape-based storage libraries will predominate, with some flash memory used for caching and metadata. Hard disk drives, as well as enterprise SSDs, are also used in high-performance storage applications where storage cost factors must be balanced with performance requirements.

For applications requiring rugged field use or fast playback response flash memory either as cards or solid-state drives (SSDs) are now standard fare.

Due to input from industry groups, SMPTE, HPA, EBU (and other media and entertainment workers) survey results and discussions with industry end users and equipment providers the publisher has continued to adjust many of their models for current storage estimates as well as future growth in 2018. The 2018 report extends the updated capacity and storage cost model the publisher developed in 2017. In addition, the publisher has expanded the impact of solid-state storage in later projections based upon expected lower flash memory storage costs.

Key Points

  • Creation, Distribution & Conversion of video content creates a huge demand driver for storage device and systems manufacturers
  • As image resolution increases and as stereoscopic VR video becomes more common, storage requirements explode
  • The development of 4K TV and other high-resolution venues in the home and in mobile devices will drive the demand for digital content (especially enabled by high HEVC (H.265) compression.
  • HDD areal density increases are slower but flash memory growth has increased. This might cause more applications to use flash memory
  • Activity to create capture and display devices for 8K X 4K content is occurring with planned implementation in common media systems by the next decade
  • Active archiving will drive increased use of HDD storage for “archiving” applications, supplementing tape for long term archives
  • Optical storage developments for higher capacity write-once Blu-ray optical cartridges will create higher capacity discs and this may help slow the reduction in optical disc archiving
  • Flash memory dominates cameras and is finding wider use in post-production and content distribution systems
  • From 2017 to 2023 entertainment and media digital storage TAM (without archiving and preservation) will increase by about 1.9X from $4.5 B to $8.5 B
  • The growth in storage capacities will result in a total media and entertainment storage revenue growth of about 1.9 X between 2017 and 2023 (from $6.9 B to $12.8 B)
  • Overall annual storage capacity demand for non-archival applications I expected to increase over the period from 2017 to 2023 by 5.2X from 11.7 EB to 60.3 EB
  • Between 2017 and 2023 the research expects about a 3.5 X increase in the required digital storage capacity used in the entertainment industry and about a 3.7 X increase in storage capacity shipped per year (from 51.9 EB to 191.9 EB
  • In 2017 archiving and preservation is estimated to have been 35% of total storage revenue followed by a content distribution (33%), postproduction (27%) and content acquisition (5%)
  • In 2023 the projected revenue distribution is 34% archiving and preservation, 33% content distribution, 26% post-production and 7% content acquisition
  • By 2023 the publisher expects about 55% of archived content to be in near-line and object storage, up from 45% in 2017
  • 2017 estimates that 71% of the total storage media capacity shipped for all the digital entertainment content segments was in HDDs with digital tape at 22.7%, 4.3% optical discs and flash at 2.0%
  • By 2023 tape has been reduced to 15.4%, HDDs shipped capacity is 75.5%, optical disc capacity is down to about 1.0% and the flash capacity percentage is at 8.1%
  • Media revenue is expected to increase about 1.6 X from 2017 to 2023 ($1.8B to $2.9 B).
  • The single biggest application (by storage capacity) for digital storage in the next several years, as well as one of the most challenging, is the digital conversion of film, videotape and other analogue formats
  • Over 131 Exabytes of new digital storage will be used for digital archiving and content conversion and preservation by 2023
  • Storage in remote “clouds” is playing an important role in enabling collaborative workflows and in archiving
  • Overall cloud storage capacity for media and entertainment is expected to grow about 13.3X between 2017 and 2023 (5.1 EB to 68.2 EB)
  • Overall object storage capacity for media and entertainment is expected to grow about 4.9 X between 2017 and 2023 (10.4 EB to 51.6 EB)
  • Cloud storage revenue will be about $2.7 B by 2023
  • By the research estimates, professional media and entertainment storage capacity represent about 4.5% of the total shipped storage capacity in 2017. Professional media and entertainment uses about 13% of all tape capacity shipments, 8% of all hard disk drive shipments and 2% of all flash memory shipments in 2017
  • Digital cinema conversion complete in most countries with movement to 4K video wide-spread
  • Silver halide film as a content distribution media will vanish before the end of the decade.
  • AXF and other new standards may help format obsolescence
  • Several petabytes of storage can be required for a complete stereoscopic digital movie production at 4K resolution and there is some production work as high as 8K
  • By the next decade total video captured for a high-end, digital production could be hundreds of PB, approaching 1 Exabyte
  • The movement to IP based workflows will reduce total costs for content management, including storage
  • Non-linear editing requires high-performance storage devices. Over the forecast period, lower network storage costs and higher performing low-cost storage networks will result in faster growth of network storage than directly attached and local.
  • ATA HDD arrays have become the dominant mode for readily retrievable fixed-content storage, but flash memory will grow for this use as costs decline
  • The magnetic tape will remain as an archival media although use in other applications is in decline, particularly content capture
  • Flash memory is the clear majority storage media in professional video cameras with survey results showing about 56% utilization in the 2018 survey
  • The continued need for storage for higher performance and high capacity workflows are driving strong storage growth in the projection periods - assuming no great negative economic trends.
Note: Product cover images may vary from those shown
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FEATURED COMPANIES

  • ABC
  • Data Direct Networks
  • Fox
  • Maxell
  • Oracle
  • SeaChange
  • MORE

1. Acknowledgements

2. The Author

3. Executive Summary

  • Key Points

4. Introduction

5. Cinema and Video Formats

6. Media and Entertainment Professional Storage Survey

7. Content Creation and Acquisition

  • Feature Film Acquisition
  • TV Production
  • Film Scanning
  • Storage Capacity Projections for Digital Content Acquisition

8. Post Production including Editing and Special Effects

  • Non-Linear Editing (NLE)
  • Special Effects and Other Post Production
  • Summary Post-Production Digital Storage Capacity Demand
  • Storage Capacity and Storage Revenue Projections for NLE, Special Effects and Other
  • Post Production Activities

9. Media and Entertainment Content Distribution

  • Lower Bandwidth Richer Media Distribution Technology
  • Local Broadcast
  • Cable Distribution
  • Satellite Headend
  • TV Networks
  • Digital Cinema

10. Hard Disk Drives Used in Digital Cinema

  • Professional Media and Entertainment Internet Distribution
  • Video on Demand (VOD)

11. Summary of Non-Archive Entertainment and Media Storage

12. Archiving and Digital Preservation

  • Hard Disk Drives
  • Magnetic Tape
  • Optical Discs
  • Cloud and Object Archive Storage
  • Survey Archive Results
  • Digital Conversion of Older Analog Content
  • Costs of Digital Conversion
  • Costs of Long Term Storage
  • Archiving of Digital Created Content
  • Total Archive and Preservation Storage Projections
  • Archiving Storage: Off-line, Near-Line, in the Cloud
  • Uses of Archived Content - Making an Archive ROI
  • Migration of Content to Avoid Format Obsolescence

13. Capacity Requirements by Market Segment

14. Storage Revenue Estimates by Market Segment

15. Storage Media Projections

  • Touch Rate Versus Response Time
  • Response time definition
  • Touch rate definition
  • Touch rate vs. response time
  • Technology regions
  • IO Object size curve

16. Media Projections for Media and Entertainment

17. Conclusions

18. Some Media and Entertainment Market Companies

List of Figures
Figure 1. Digital Entertainment Content Value Chain (An Accelerating Positive Feedback Loop)
Figure 2. Digital Entertainment Content Workflow.
Figure 3. Hybrid Motion Picture Production and Post-Production using Digital Intermediates
Figure 4. Size Comparison of Raw Camera and Digital Intermediary Files
Figure 5. Setup and Application of Canon’s Free Viewpoint Video System
Figure 6. Video Resolution Comparisons
Figure 7. Content is made up of Essence plus Metadata
Figure 8. Uses and Flow of Metadata in the Entertainment Content Process
Figure 9. Sphericam VR Video Camera Setup
Figure 10. Jaunt One Video Camera Rig
Figure 11. Spherical Image Display
Figure 12. ARRI ALEXI Stereoscopic Video Camera Setup
Figure 13. Canon C300 DSLR Used for Professional Video
Figure 14. For-A Super Slo-Mo Camera
Figure 15. BBC Image of an HNK Super Hi-Vision Camera
Figure 16. Sharp 8K X 4K LCD Display at 2012 CES
Figure 17. NHK 8K SHV Field Camera
Figure 18. Sony 8K Portable Camera
Figure 19. Red MONSTRO 8K VV Sensor for Weapon Cameras
Figure 20. Percentage of Various Recording Media in Professional Video Cameras
Figure 21. FOR-A Video Archive Recorder
Figure 22. Content Shot for an Hour of Completed Work
Figure 23. Panasonic Micro P2 Flash Module and Adapter
Figure 24. Panasonic P2 and Sony SxS Flash Memory Camcorder Modules
Figure 25. Sony External Video Recording SSD
Figure 26. SanDisk CFast Compact Flash Card
Figure 27. Lexar microSD U3 Card for Media Content Capture
Figure 28. ProGrade SFEXPRESS 1.0 1 TB Memory Card
Figure 29. Atmos Master Caddy
Figure 30. Maxell iVDR Storage Module on a Sony Professional Camera
Figure 31. LaCie 2big Dock Thunderbolt 3 Drive
Figure 32. NHK Super High Vision Equipment Roadmap
Figure 33. Statistics for Ang Lee’s Billy Lynn’s Long Halftime Walk
Figure 34. Ang Lee’s Data Center
Figure 35. Percentage Scanned into Different Digital Resolutions
Figure 36. Digital Content Generation Capacity Projections
Figure 37. Annual Storage System Capacity Growth for Digital Content Acquisition
Figure 38. Professional Non-Linear Editing Model System
Figure 39. DAS vs. Shared Storage and Number of People in a Post Facility (2017 survey)
Figure 40. AWS Snowball Data Transport Solution
Figure 41. Example Render Farm Layout
Figure 42. Pixar Render Farm
Figure 43. Pixit Media Excelero 8K+ Workflow
Figure 44. OWC ThunderBlade
Figure 45. WD G-Drive Mobile SSD-R
Figure 46. Physical Distribution Media for Proxies or Completed Post Work
Figure 47. Post Production Storage Capacity Annual Demand (TB)
Figure 48. Projections for Post Production, CGI/FX New Storage Requirements
Figure 49. Price of Storage/GB for Facility Niche
Figure 50. Toshiba On-Air Max Flash
Figure 51. Bit Rate Reduction Curve Showing Big-Rate Savings between H.264 and HEVC (Horizontal Axis indicates Quality Target Resolution)
Figure 52. Local Broadcaster Content Distribution Storage Capacity Analysis
Figure 53. Estimate of Local Broadcaster Distribution Network Storage TAM ($M)
Figure 54. Cable Head End Distribution Storage Capacity Analysis
Figure 55. Estimate of Cable Head End Network Storage TAM ($M)
Figure 56. Satellite Head End Distribution Storage Capacity Analysis
Figure 57. Estimate of Satellite Headend Network Storage TAM ($M)
Figure 58. TV Network Delivery Storage Capacity Analysis
Figure 59. Estimate of TV Networks Local Near-Line and Cloud Storage Capacity (TB)
Figure 60. Estimate of TV Networks Network Storage TAM ($M)
Figure 61. USB Hard Drive for Movie Distribution to Theatre (Mercado Theatre in Santa Clara, CA)
Figure 62. Schematic of a Play-To-Screen Server with Functional Blocks (Thompson Grass Valley)
Figure 63. Digital Cinema Projector
Figure 64. Schematic Digital Projector Showing IMB Containing Content Storage (a) and with content storage external to the IMB (b)
Figure 65. Integrated Media Block Containing HDDs
Figure 66. Annual New Storage Capacity for Digital Cinema
Figure 67. Estimate of Digital Cinema Storage TAM ($M)
Figure 68. Internet Content Distribution System (CDN)
Figure 69. Eluv.io’s Software Content Fabric
Figure 70. Level 3’s Content Delivery Network
Figure 71. Internet Content Delivery Storage Capacity Analysis
Figure 72. Estimate of Internet Content Delivery Network Storage TAM ($M)
Figure 73. IBM Flash-based Content-Delivery Servers
Figure 74. Video on Demand Total Storage Capacity Model
Figure 75. Annual Growth in Video on Demand Storage Capacity
Figure 76. Estimate of VOD Storage TAM by Category ($M)
Figure 77. Estimate of Cloud and Conventional VOD Storage Capacity
Figure 78. Non-Archive Media and Entertainment Annual Network Storage TAM Estimate
Figure 79. Non-Archive On-Line Network Annual Storage TAM Estimate
Figure 80. Non-Archive Near-Line Network Annual Storage TAM Estimate
Figure 81. Non-Archive Object Storage Annual TAM Estimate
Figure 82. Non-Archive Direct Attached and Local Storage Annual TAM Estimate
Figure 83. Total Non-Archive Storage Annual TAM Estimate
Figure 84. Non-Archive Network Storage Capacity Annual Demand Estimate
Figure 85. Non-Archive On-Line Network Storage Capacity Annual Demand Estimate
Figure 86. Non-Archive Near-Line Network Storage Capacity Annual Demand Estimate
Figure 87. Non-Archive Object Storage Capacity Annual Demand Estimate
Figure 88. Non-Archive Direct Attached Storage and Local Storage Capacity Annual Demand Estimate
Figure 89. Non-Archive Total Storage Capacity Annual Demand Estimate
Figure 90. HDD Cartridge Products (iVDR and RDX)
Figure 91. Spectra Logic SMR HDD Archive Storage System
Figure 92. ATSC HDD Technology Roadmap
Figure 93. LTO Projected Tape Generations
Figure 94. LTO-8 Tape Cartridge
Figure 95. Uses for LTFS Tape in Media and Entertainment Workflows
Figure 96. Sony/Panasonic Optical Archive Roadmap
Figure 97. Sony Blu-Ray Optical Disc Cartridge and Drive
Figure 98. XenData Tape and Optical Disc Library
Figure 99. Elements in an AXF Object Wrapper
Figure 100. Percentage of Digital Long-Term Archives on Various Media
Figure 101. Percentage of Tape Formats Used in Digital Archiving
Figure 102. Example Workflow for Analog to Digital Video Conversion
Figure 103. Total Annual Digital Storage Demand Projections for Archiving and Digital Content Conversion & Preservation
Figure 104. Annual Near-Line and Off-Line Digital Storage for Content Archiving
Figure 105. Annual Archive Object Storage for Content Archiving
Figure 106. Cloud vs. Local Archive Storage
Figure 107. Relationship Between Archive Content and Multiple Real-Time and Non-Real-Time Distribution Content
Figure 108. Media and Entertainment Cloud Storage Capacity Projections
Figure 109. Media and Entertainment Object Storage Capacity Projections
Figure 110. Media and Entertainment Cloud Storage Revenue Projections
Figure 111. Media and Entertainment Object Storage Revenue Projections
Figure 112. Touch rate versus response time indicating various types of uses
Figure 113. Digital storage technologies regions overlaid on the Touch Rate/Response Time chart
Figure 114. Touch/Y and response time for 100% random IO in a 4 TB capacity HDD
Figure 115. Touch/Y and response time for 4 TB capacity HDD, LTO Tape and Blu-ray Discs
Figure 116. Media Annual Revenue Estimate Summary ($M)
Figure 117. Tape Cartridge Annual Unit Shipment Projections
Figure 118. Optical Disk Unit Annual Unit Shipment Projections
Figure 119. HDD & Flash Annual Unit Shipment Projections
Figure 120. Distribution of Storage Capacity for Entertainment Creation, Archiving, and Distribution Segments (2017)
Figure 121. Distribution of Storage Capacity for Entertainment Creation, Archiving, and Distribution Segments (2023)
Figure 122. Media and Entertainment Market Storage Revenue Share by Segment (2017)
Figure 123. Media and Entertainment Market Storage Revenue Share by Segment (2023)
Figure 124. Market Share of Storage Media by Storage Capacity Shipped (2017)
Figure 125. Market Share of Storage Media by Storage Capacity Shipped (2023)

List of Tables
Table 1. Example Resolution, Data Rates and Storage Capacity Requirements for Professional Media Content (assumes no chroma subsampling)
Table 2. Some 4K and Beyond Camera Codecs
Table 3. Feature Film Metrics (24 fps, 10-bit color, 4K Bayer Format)
Table 4. Percentage of Survey Participants in Content Market Segments
Table 5. Survey Participant Location
Table 6. Uncompressed Format Assumptions for 1 Hour of Full Resolution Raw Content
Table 7. Comparison of Professional Video Camera Media Trends
Table 8. Survey Question: What % of your Content is Born Digital
Table 9. Comparison of 2010, 2012, 2013, 2014, 2015, 2016 and 2017 Hours Shot for an Hour of Completed Content
Table 10. Comparison of 2010, 2012, 2013, 2014, 2015, 2016 and 2017 Scanned Resolutions
Table 11. Feature Film Projection Assumptions
Table 12. TV Broadcast Assumptions
Table 13. TV Episodic Assumptions
Table 14. General Assumptions for Movie & TV Content
Table 15. Feature Film Scanning Digital Storage Requirements
Table 16. Assumptions for Film Scanning Projections
Table 17. Assumptions for Storage Systems Capacity Projections
Table 18 Professional NLE Bandwidth Requirements
Table 19. Proxy Distribution Media Trends
Table 20. Professional Post-Production Storage Assumptions
Table 21. Professional Post Production Storage Projections (High End)
Table 22. Special Effects and Other Special Production Activities Storage Projections
Table 23. World-Wide Post Facilities Capacity Growth Estimates (On-Line, NearLine and DAS/Local)
Table 24. Post-Production Facility Spending Assumptions ($/GB)
Table 25. World-Wide HE/MR NLE Facilities Network Storage Spending Estimates
Table 26. Comparison of Costs for Streaming Content with HDDs and SSDs
Table 27. Additional Assumptions on Local Broadcast Content
Table 28. Estimate of WW Local Broadcast Storage Capacity Requirements and Spending
Table 29. Cable Head End Assumptions
Table 30. Estimate of WW Cable Head End Storage Spending
Table 31. Satellite Headend Assumptions
Table 32. Estimate of WW Satellite Head End Storage Spending
Table 33. TV Master Network Assumptions
Table 34. Estimate of WW TV Master Network Storage Spending
Table 35. Comparison of Costs for Distribution with Various Optical Media as well as Hard Disk Drives
Table 36. Digital Cinema Expected Cost Reductions
Table 37. Digital Cinema Storage Estimate Assumptions
Table 38. Digital Cinema Storage Estimate
Table 39. Internet Content Delivery Assumptions
Table 40. Estimate of WW Internet Content Delivery Storage Spending
Table 41. VOD Capacity Model Assumptions
Table 42. Video on Demand Storage Capacity Model (TB)
Table 43. Simplified percentage growth rate of various archival media types
Table 44. 2006 Estimated Costs for Archiving Motion Picture Materials on HDD Arrays and a Tape Library for Year 1 (1 TB)
Table 45. Assumptions for Archiving and Digital Preservation
Table 46. Archiving and Digital Conversion and Preservation Storage Projections
Table 47. Annual New Capacity Projections by Media and Entertainment Market (Petabytes)
Table 48. Annual New Direct Attached and Local Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 49. Annual New Total Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 50. Annual New On-Line Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 51. Annual New Near-Line Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 52. Annual New Object Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 53. Annual Cloud Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 54. Total Entertainment and Media Storage Revenue Estimate ($M)
Table 55. Direct Attached and Local Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 56. Total Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 57. On-Line Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 58. Near-Line Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 59. Object Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 60. Off-Line Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 61. Media Unit Storage Capacity and Price Assumptions
Table 62. Detailed Annual New Media Unit Breakdown by Application
Table 63. Annual New Media Unit Summary

Note: Product cover images may vary from those shown
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  • ABC
  • Amazon
  • ARRI
  • Atempo
  • Atmos
  • ATTO
  • Avid Technology
  • BBC
  • BitCentral
  • Canon
  • CBS
  • Data Direct Networks
  • Discovery Channel
  • Disney
  • Dolby
  • Edit Share
  • EFilm
  • Eluv.io
  • EMC
  • ESPN
  • Facilis
  • For-A
  • Fox
  • Google
  • Harmonic
  • Hitachi
  • IBM
  • IMT
  • Iron Mountain
  • Juant
  • Level 3
  • Lexar
  • LTO
  • Maxell
  • Maximum Throughput
  • MCA/Universal
  • Micron
  • Microsoft
  • NASCAR
  • NBC
  • NetApp
  • NHK
  • NVM Express
  • Open Drives
  • Oracle
  • Other World Computing
  • Panasonic
  • Pixar
  • Pixit Media
  • Promise Technology
  • QLogic
  • Quantum
  • Red
  • Scale Logic
  • Scality
  • SeaChange
  • Seagate
  • SGI
  • Sharp
  • SMPTE
  • SNIA
  • Sony
  • Spectra Logic
  • Techicolor
  • Toshiba
  • Turner Entertainment
  • Warner Brothers
  • Western Digital
  • Xendata
  • Zadaro
Note: Product cover images may vary from those shown
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