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2020 Digital Storage for Media and Entertainment Report

  • ID: 5233737
  • Report
  • September 2020
  • Region: Global
  • Coughlin Associates
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Media Revenue is Expected to Increase About 1.2X From 2019 to 2025 ($1.8B to $2.2B)

FEATURED COMPANIES

  • Aberdeen
  • Buffalo
  • EMC/Isilon
  • Infortrend
  • Oracle/Sun
  • Scality
  • MORE

This updated and expanded report is the eighteenth annual comprehensive reference document on this topic.

The report analyzes requirements and trends in worldwide data storage for:

  • Entertainment Content Acquisition
  • Editing
  • Archiving and Digital preservation, as well as digital cinema
  • Broadcast
  • Satellite
  • Cable
  • Network
  • Internet
  • OTT and VOD distribution

Capacity and performance trends as well as media projections are made for each of the various market segments. Industry storage capacity and revenue projections include direct-attached storage, cloud(including object storage), real-time as well as near-line network storage.

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.

Key Points

  • The Covid-19 pandemic in 2020 will have a big impact on content creation in 2020 and likely into 2021, except for broadcast acquisition
  • Spending for digital cinema in 2020 and 2021 will also be impacted by the pandemic
  • 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) and VVC (H.266) compression and even greater standards for compression to enable 8K and higher resolution and frame rate workflows.
  • HDD areal density increases are slower but flash memory growth has increased and the price declined. This, plus the growth in higher resolution and higher frame rate content, is causing 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 in this 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 2019 to 2025 entertainment and media digital storage TAM (without archiving and preservation) will increase by about 1.8 X from $7.3B to $13.3 B
  • The growth in storage capacities will result in a total media and entertainment storage revenue growth of about 1.6 X between 2019 and 2025 (from $10.3 B to $16.5B)
  • Overall annual storage capacity demand for non-archival applications is expected to increase over the period from 2019 to 2025 by 5.0X from 24.3 EB to 122.4 EB
  • Between 2019 and 2025 the publisher expects about a 3.0 X increase in the required digital storage capacity used in the entertainment industry and about a 3.4 X increase in storage capacity shipped per year (from 70.8EB to 241EB
  • In 2019 content distribution is estimated at 31% of total storage revenue followed by archiving and preservation at 29%, post-production at 22% and content acquisition at 18%.
  • In 2025 the projected revenue distribution is 33% content distribution, 25% post-production, 23% content acquisition and 19% archiving and preservation.
  • By 2025 the publisher expects about 56% of archived content to be in near-line and object storage, up from 48% in 2019
  • In 2019 the publisher estimates that 74.7% of the total storage media capacity shipped for all the digital entertainment content segments was in HDDs with digital tape at 19.0%, 2.7% optical discs and flash at 3.5%
  • By 2025 tape capacity shipment share has been reduced to 13.0%, HDDs shipped capacity is 76.4%, optical disc capacity is down to about 0.5% and flash capacity percentage is at 10.1%
  • Media revenue is expected to increase about 1.2X from 2019 to 2025 ($1.8B to $2.2B).
  • 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, video tape and other analog formats and its long-term digital preservation
  • Over 116 Exabytes of new digital storage will be used for digital archiving and content conversion and preservation by 2025
  • Storage in remote “clouds” is playing an important role in enabling collaborative workflows, content distribution and in archiving
  • Overall cloud storage capacity for media and entertainment is expected to grow over 13X between 2019 and 2025 (2.2 EB to 29.0 EB)
  • Overall object storage capacity for media and entertainment is expected to grow about 3.7 X between 2019 and 2025 (14.3 EB to 52.7 EB)
  • Cloud storage revenue will be about $3.7 B by 2025
  • By the research estimates, professional media and entertainment storage capacity represent about 5.8% of total shipped storage capacity in 2019.
  • Professional media and entertainment consume about 28% of all tape capacity shipments, 4.9% of all hard disk drive shipments and 2.3% of all flash memory shipments in 2019. The publisher estimates that media and entertainment spending was about 9% of total storage revenue in 2019.
  • Digital cinema conversion complete in most countries with movement to 4K video wide-spread
  • Silver halide film is in serious decline and only used in some special projects.
  • 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 increasing production work at 8K or higher
  • 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 direct attached and local storage
  • ATA HDD arrays have become the dominant mode for readily retrievable fixed content storage, but flash memory is growing for this use as costs decline (NVMe using the PCIe bus will be the dominate flash interface)
  • 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 62% utilization in the 2020 survey
  • The continued need to storage for higher performance and high capacity workflows are driving strong storage growth in the projection periods - assuming no great negative economic trends.

The data presented in this report is subject to change as the content storage market develops. The publisher has additional information that they have gathered in addition to that included in this published report. The publisher will continue to monitor and develop the models of this market as time goes on. 

Note: Product cover images may vary from those shown
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FEATURED COMPANIES

  • Aberdeen
  • Buffalo
  • EMC/Isilon
  • Infortrend
  • Oracle/Sun
  • Scality
  • MORE
  • Acknowledgements
  • The Author
  • Executive Summary
    • Key Points
  • Introduction
  • Cinema and Video Formats
  • Media and Entertainment Professional Storage Survey
  • Content Creation and Acquisition
    • Feature Film Acquisition
    • TV Production
    • Film Scanning
  • Storage Capacity Projections for Digital Content Acquisition
  • Post Production including Editing and Special Effects
    • Non-Linear Editing (NLE)
    • Post Production Storage
    • Flash Memory for Editing
    • Editing and the Cloud
    • 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
  • Media and Entertainment Content Distribution
    • Lower Bandwidth Richer Media Distribution Technology
    • Local Broadcast
    • Cable Distribution
    • Satellite Headend
    • TV Networks
  • Digital Cinema
  • Hard Disk Drives Used in Digital Cinema
  • Assumption for Digital Cinema Storage
  • Professional Media and Entertainment Internet Distribution
  • Video on Demand (VOD)
  • Summary of Non-Archive Entertainment and Media Storage
  • 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
  • Capacity Requirements by Market Segment
  • Storage Revenue Estimates by Market Segment
  • 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
    • Media Projections for Media and Entertainment
  • Conclusions
  • 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. Report Assumptions for High-End Movie Resolutions over Time
Figure 5. Statistics for Ang Lee’s Billy Lynn’s Long Halftime Walk
Figure 6. Ang Lee’s Data Center
Figure 7. Setup and Application of Canon’s Free Viewpoint Video System
Figure 8. Video Resolution Comparisons
Figure 9. Content is made up of Essence plus Metadata
Figure 10. Uses and Flow of Metadata in the Entertainment Content Process
Figure 11. Sphericam VR Video Camera Setup
Figure 12. Jaunt One Video Camera Rig
Figure 13. Spherical Image Display
Figure 14. ARRI Mini LF 4K S35 Camera and SSD Recording Media
Figure 15. Canon C300 DSLR Used for Professional Video
Figure 16. For-A Super Slo-Mo Camera
Figure 17. LG 8K X 4K LCD Display
Figure 18. NHK 8K Portable Camera
Figure 19. NHK 8K Portable Camera Schematic
Figure 20. Sharp 8K Portable Camera
Figure 21. Red MONSTRO 8K VV Sensor for Weapon Cameras
Figure 22. Percentage of recording media in professional video cameras.
Figure 23. FOR-A Video Archive Recorder
Figure 24. Content Shot for an Hour of Completed Work
Figure 25. Panasonic Micro P2 Flash Module and Adapter
Figure 26. Sony SxS Flash Memory Camcorder Modules
Figure 27. Sony External Video Recording SSD
Figure 28. Angelbird CFast Compact Flash Card
Figure 29. Angelbird SD Cards for Professional Video Camera
Figure 30. ProGrade SFEXPRESS 1.0 1 TB Memory Card
Figure 31. Atmos Master Caddy
Figure 32. LaCie 2big Dock Thunderbolt 3 Drive
Figure 33. NHK Super High Vision Equipment Roadmap
Figure 34. Percentage Scanned into Different Digital Resolutions
Figure 35. Digital Content Generation Capacity Projections
Figure 36. Annual Storage System Capacity Growth for Digital Content Acquisition
Figure 37. Professional Non-Linear Editing Model System
Figure 38. DAS vs. Shared Storage and Number of People in a Post Facility (2017 survey)
Figure 39. Physical Distribution Media for Proxies or Completed Post Work
Figure 40. Seagate Lyve Drive Data Platform
Figure 41. Pixit Media Excelero 8K+ Workflow
Figure 42. OWC ThunderBlade
Figure 43. WD G-Drive Mobile SSD-R
Figure 44. AWS Snowball Data Transport Solution
Figure 45. Example Render Farm Layout
Figure 46. Pixar Render Farm
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 (AVC) 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 ($M)
Figure 58. TV Network Delivery Storage Capacity Analysis
Figure 59. Estimate of TV Networks Local Near-Line and Cloud Storage Capacity (TB)
Figure 60. Estimate of TV Master Networks Network Storage TAM ($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 ($M)
Figure 68. Internet Content Distribution System (CDN)
Figure 69. Eluv.io’s Content Fabric
Figure 70. Level 3’s Content Delivery Network
Figure 71. Internet Content Delivery Storage Capacity Analysis
Figure 72. Estimate of Internet Content Delivery Network Storage TAM ($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 Cartridges and Drive
Figure 95. Uses for LTFS Tape in Media and Entertainment Workflows
Figure 96. Sony/Panasonic Optical Archive Roadmaps
Figure 97. Sony Blu-Ray Optical Disc Cartridge and Drive
Figure 98. XenData Tape or 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 Growth in 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 NonReal-Time Distribution Content
Figure 108. Media and Entertainment New Cloud Storage Capacity Projections
Figure 109. Media and Entertainment New 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 (2019)
Figure 121. Distribution of Storage Capacity for Entertainment Creation, Archiving, and Distribution Segments (2025)
Figure 122. Media and Entertainment Market Storage Revenue Share by Segment (2019)
Figure 123. Media and Entertainment Market Storage Revenue Share by Segment (2025)
Figure 124. Market Share of Storage Media by Storage Capacity Shipped (2019)
Figure 125. Market Share of Storage Media by Storage Capacity Shipped (2025)
Figure 126. Market Share of Storage Media by Revenue (2019)
Figure 127. Market Share of Storage Media by Revenue (2025)
Figure 128. M&E Flash Memory Revenue by Application (2019)
Figure 129. M&E Flash Memory Revenue by Application (2025)

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 locations.
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, 2017, 2018, 2019 and 2020 Hours Shot for an Hour of Completed Content
Table 10. Comparison of 2010, 2012-2020 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. Proxy Distribution Media Trends
Table 19 Professional NLE Bandwidth Requirements
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 92
Table 23. World-Wide Post Facilities Capacity Growth Estimates (On-Line, Near-Line 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. Average Percentage content on physical media for professional content distribution
Table 27. Comparison of Costs for Streaming Content with HDDs and SSDs (from Quantum)
Table 28. Additional Assumptions on Local Broadcast Content
Table 29. Estimate of WW Local Broadcast Storage Capacity Requirements and Spending
Table 30. Cable Head End Assumptions
Table 31. Estimate of WW Cable Head End Storage Spending
Table 32. Satellite Headend Assumptions
Table 33. Estimate of WW Satellite Head End Storage Spending
Table 34. TV Master Network Assumptions
Table 35. Estimate of WW TV Master Network Storage Spending
Table 36. Digital Cinema Storage Estimate Assumptions
Table 37. Digital Cinema Storage Estimate
Table 38. Internet Content Delivery Assumptions
Table 39. Estimate of WW Internet Content Delivery Storage Spending
Table 40. VOD Capacity Model Assumptions
Table 41. Video on Demand Storage Capacity Model
Table 42. Simplified percentage growth rate of various archival media types.
Table 43. 2006 Estimated Costs for Archiving Motion Picture Materials on HDD Arrays and a Tape Library for Year 1 (1 TB) 28
Table 44. Assumptions for Archiving and Digital Preservation
Table 45. Archiving and Digital Conversion and Preservation Storage Projections
Table 46. Annual New Capacity Projections by Media and Entertainment Market (Petabytes)
Table 47. Annual New Direct Attached and Local Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 48. Annual New Total Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 49. Annual New On-Line Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 50. Annual New Near-Line Networked Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 51. Annual New Object Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 52. Annual New Cloud Storage Capacity Projections by Media and Entertainment Market (Petabytes)
Table 53. Total Entertainment and Media Storage Revenue Estimate ($M)
Table 54. Direct Attached and Local Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 55. Total Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 56. On-Line Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 57. Near-Line Network Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 58. Object Storage Entertainment and Media Storage Revenue Estimate ($M) 222
Table 59. Off-Line Storage Entertainment and Media Storage Revenue Estimate ($M)
Table 60. Media Unit Storage Capacity and Price Assumptions
Table 61. Detailed Annual New Media Unit Breakdown by Application
Table 62. Annual New Media Unit Summary

Note: Product cover images may vary from those shown
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  • Aberdeen
  • Accusys
  • Adobe
  • Adtec
  • Advanced Industrial Computer (AIC)
  • Aframe
  • AIC
  • Akitio
  • Amazon
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  • Apace
  • Apple
  • Archiware
  • Ardendo
  • ARRI
  • ASACA
  • Aspera (part of IBM)
  • Atmos
  • ATTO
  • Autodesk
  • Avere
  • Avid
  • Axle AI
  • Azure
  • Backblaze
  • BDT Products
  • Bit Central
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  • Bright Systems
  • Broadbus
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  • DDN
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  • Dternity
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  • Electric Pictures
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  • EVS
  • Exascend
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  • Facilis
  • Falconstor
  • Fast Forward Video
  • Fast LTA
  • FilmLight
  • Fuji Film
  • Fujifilm
  • Fujitsu
  • Fusion-io
  • G-Tech (part of WDC)
  • GB Labs
  • Google
  • GPL Technologies
  • Grass Valley
  • GRUS
  • Harmonic
  • Harris
  • HGST/WD
  • Hitachi LG
  • Hitachi Vantara
  • Hollywood Vaults
  • Huawei
  • IBM
  • IEEI TV
  • Ikegami
  • Imagine Communications
  • IMT
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  • Iomega
  • Iron Mountain
  • iX Systems
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  • Kingston
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  • Synology
  • T3Media (formerly Thought Equity Motion)
  • Tape Arc
  • Telestream
  • Tiger Tech
  • Tolis Group
  • Toshiba
  • Transcend
  • USL Inc
  • Violin Memory
  • Virage
  • Virident
  • Wasabi
  • Western Digital
  • Xendata
  • XOR
  • Xstore
  • Zadara
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