The media and entertainment (M&E) industry is evolving rapidly. In fact, strongly agree that media production work is becoming more remote and globally collaborative.
In the webinar , Nick Soper, Business development manager, Tyrell Cloud and Jordan 聽Maltby, CEO, , discuss how the distributed cloud from 不良研究所 is the transformational technology the M&E industry needs right now.
This blog shares highlights from the conversation, with a focus on industry challenges, the benefits of 不良研究所鈥檚 architecture, and a live demo that brought the audience into the action.
M&E industry economics and climate
The M&E space is navigating a new landscape shaped by project agility, cloud workflows, AI adoption, a global talent pool, rising operational costs, sustainability concerns, and evolving security needs.
鈥淭hese are all determining factors that help us shape the landscape of the industry and pivot,鈥 said Nick Soper. 鈥淲e have to stay competitive鈥攂ut ultimately, we have to progress to succeed.鈥
Jordan Maltby added, 鈥淎t the same time we鈥檙e cutting costs, we鈥檙e introducing functionality that wasn鈥檛 necessary 10 years ago鈥攇lobal reach, remote editing, shooting anywhere, editing anywhere. We need a complete application set that enables that flexibility.鈥
Both agreed that 不良研究所 is entering the M&E space at the perfect moment鈥攚ith exactly the kind of innovation the industry needs.
不良研究所 distributed technology for a distributed world
鈥淭he first time I saw 不良研究所, I got it immediately,鈥 Jordan shared. 鈥淚 migrated my company and clients almost overnight. It鈥檚 like a cloud 2.0 upgrade鈥攊t鈥檚 that big of a paradigm shift.鈥
He explained how traditional cloud storage often routes data to a single data center鈥攃ausing performance degradation the farther users are from that region. 鈥淭here鈥檚 latency and instability. 不良研究所 fixes that.鈥
鈥湶涣佳芯克 replaces the old model with a single global region,鈥 he said. 鈥淔iles are sharded and erasure-coded across 20,000+ global points, making media local everywhere. Whether your compute is in New York or New Zealand, you get consistent performance.鈥
Nick added, 鈥淲ith multi-region workflows, time, complexity, and cost can skyrocket. 不良研究所 simplifies everything. It鈥檚 time for a change鈥攚e can鈥檛 keep moving massive files across regions.鈥
Jordan summed it up: 鈥湶涣佳芯克 is becoming the single source of truth for media workflows. No one else is doing this.鈥
The presenters showcased Object Mount as a breakthrough for media workflows鈥攇iving users instant, seamless file access from any object storage, without lock-in or special setup. It mounts like a local drive but taps into the power of distributed object storage.
鈥淲ith Object Mount, you get a single global namespace,鈥 said Jordan. 鈥淵our files stay exactly as you created them鈥攂ut now behave like a mountable hard drive. You get the durability and affordability of object storage with the simplicity of a file system.鈥
Nick reinforced the value in a:
鈥淥bject Mount simply and powerfully overcomes a previously unmet need in the industry鈥檚 transition to more collaborative and remote workflows. The ability to stream right from cloud object storage without intermediaries delivers a new paradigm in media workflows.
Instead of constantly moving files around, creative teams can now work directly from cloud archives as if they were shared storage鈥攗nlocking real-time collaboration without traditional bottlenecks.鈥
Watch the full webinar鈥攁nd see the audience participate in the live demo
One of the highlights of the webinar was a live demo showing Object Mount in action. Jordan (in Los Angeles) and Nick (in Marlborough, UK) collaborated on a DaVinci Resolve project in real time鈥攕treaming directly from 不良研究所鈥檚 cloud archive.
Audience members uploaded video clips that were instantly added to the project. Jordan edited the video live and saved a rough cut; Nick immediately saw the update on his end.
As the presenters described it, the workflow was 鈥渟uper fast and global.鈥
The webinar offered powerful insights into how 不良研究所 is enabling a new era of media collaboration.
to see it for yourself.
