Security Dealer & Integrator

SEP 2013

Find news and information for the executive corporate security director, CSO, facility manager and assets protection manager on issues of policy, products, incidents, risk management, threat assessments and preparedness.

Issue link: http://sdi.epubxp.com/i/172392

Contents of this Issue

Navigation

Page 57 of 119

VIDEO SURVEILLANCE By Jay Jason Bartlett Hollywood Comes To Video Surveillance The video storage and management concepts that have ruled media & entertainment are now being applied to security D ailies, B-rolls and circle-takes — these digital video-oriented processes of the "Hollywood" production marketplace have, for nearly a decade, seen an explosion in the volume of recorded video that must be stored and managed. Entirely new workflows have been created to handle the deluge of video that digital movie-set cameras have unleashed. In the old days, parts of movies, TV shows and commercials would end up on the "cutting room floor," as sections of film were edited out of the production. Nowadays, every "take" is kept and possibly re-used in the bloopers edition or the director's cut release. SPOILER ALERT: This article is about the technical management and storage of surveillance video and not an article on the cool special-effects Hollywood is pretending to do with video surveillance. What our colleagues in the very similar Media and Entertainment (M&E;) — or Hollywood — marketplace have 54 learned is how to manage this vast amount of (and significantly growing) recorded video that is generated every day. How do directors and producers quickly access and review the day's shoot? How do they select the takes and scenes that make it into a movie? How can they quickly and easily find video scenes previously recorded for other productions and reuse them? What's the most cost-effective, affordable way to store all of these video assets? These are questions for which Hollywood has already figured out the answer. With the IP video surveillance marketplace managing a similar process to Hollywood in terms of storing vast amounts of recorded video, perhaps we should embrace their tried-andtrue workflows for surveillance video lifecycle storage. Following in Hollywood's Footsteps Hollywood has already learned how to monetize recorded video over and over again — it has learned how to use IT storage technologies to store terabytes and petabytes of video at the lowest possible costs (especially operational costs). Hollywood has also learned how to add more information (metadata) to the recorded video to help make it more relevant for quicker searches in the future. In Hollywood, if you cannot find and retrieve the recorded video quickly and easily, it quickly becomes useless to retain it. Many people in the M&E; market point to the introduction of the RED digital camera as the tipping point for Hollywood's move to a digital workflow. Originally conceived in 2005, RED became a driving force in moving away from actual "film" to a digital medium. Removing the high cost of movie and television-grade film enabled production companies to "save it all" and not leave any video footage on the proverbial cutting room floor. www.SecurityInfoWatch.com | SD&I; | September 2013

Articles in this issue

Links on this page

Archives of this issue

view archives of Security Dealer & Integrator - SEP 2013