duno to much about this, but i actually think the sound has today grown to immense sizes because of the many required channels… it’s difficult for me to accept that the sound track can be larger than the video… but i duno… got it from somewhere …
the whole GB vs TB i think is down to if one is sending it uncompressed or not… dealing with huge data streams often encoding can be very light to nearly non existing…
video compression today is common and used in almost everything, but lossless is still pretty rare if existing at all, so gauging video file sizes can be a very complex subject, i have little doubt that films could take terabytes of space in low or uncompressed formats.
also these kinds of standards are often ahead rather than behind, so they don’t have to upgrade the equipment everything somebody gets a new idea.
however i don’t agree that storj cannot offer a better alternative… ofc if they already have a system its unlikely they will change it willingly… but thats all down to common standards, how its rarely the first to market that ends up owning the market… so just because a system already exists it might still be something to compete with.
ofc one wouldn’t target the current users of such a system, but those who doesn’t have the funds to implement it and still is running the older versions.
But no matter what the original format is, for cinemas the de facto standard worldwide according to my research is DCP. It is the 35mm of the digital era. And there is no indication that this is going to change soon. Standardization in that industry is really high as movies but also trailers and advertisement should run in any cinema worldwide. And it is not only cinema, same goes for tv, festivals and award events.
So no matter what size the input is, the processed output for delivery to cinemas worldwide is a DCP package. And I just have read another source that states a DCP has 120 MBit/s and a regular movie around 120 GB.
Maybe this will change some time in the future but I don’t think it is to easy to change standards as cinemas are not willing to buy expensive new hard- and software if it does not offer real advantages, like higher revenues or lower costs.
Kinda late to the party here, but I think the point was missed about how the files would be encrypted and locked for controlled play- Tardigrade would just be the S3 backhaul target with a localized gateway and the projector would still just be decrypting the same files as it always would… just instead of an attached HDD, it’d reference the local gateway for the file.
I think this can be case proven if theaters were to have the reasonable amount of bandwidth to handle multiple theaters playing at the same time- if 1080p can be up to 34344 kbps on a bluray even… times that by 2.7 for the EC profile and you’ve got quite a bit of bandwidth (forgive me if I’ve mis-mathed that- on my 18th hour of wake). Point being, each theater would need to pay for a 1Gbps fiber connection, which is about $1500-1700 per month alone (“business class” Fiber with SLA in US), before you get to the egress fees for Tardigrade.
ofc one could make the whole cinema is dead debate…
because i really think it is… give corona a couple of more years pounding at them and they will be all but gone… an ancient form of entertainment people will imitate and which will be in certain bigger cities… but it will be like the era of airship, or battleships, or collective icerooms instead of fridges, sure it might not funny go away… there will still be big ships, they just won’t be the same… the supersize ships will be carriers instead.
so that would ofc also be one thing to consider… ofc even a dying industry can help start another
@kalloritis
i’m paying 50$ for my 1gbit fiber… so thats certainly not always true… ofc i’m not a cinema and it might have to be a business line, but those usually are just slower and more expensive…
very true and a good point, media creation sure isn’t slowing down… paying pr TB for storage … sure if one get the advantage of the bandwidth when serving thousands of users… but how much media is there and how many people…
the question then becomes if the math adds up… because most media would be long term storage and few accesses… something which tardigrade isn’t very efficient at… ofc the whole redundancy issue seems to be solved with that tho… so one can be pretty sure the data works even in 25 years
but still it would only really be relevant for media which is actively popular or atleast active, else i think the storage costs becomes an issue.
like sure some movies get cult status or is timeless, but most are very fixed in time and might not make sense far outside it’s own time, and these certainly won’t be worth storing on tardigrade, because it’s not cheap storage in that sense… it’s cheap storage because it can deliver more bandwidth than a datacenter and is more redundant…
i suppose an argument could be made for storage of movies for future study… i’m sure we all are very sad that Metropolis was lost but atleast it’s wasnt Frankestein, which is arguably a much bigger masterpiece, even tho metropolis was kinda first of it’s class.
Yup an just look at the history where we came from we used to rent movies from a store. Now we pay per month to stream all movies. Soon this will be the same for movie theatres. The entire industry will be changing for sure after this an less an less will physically go to a movie theatre.
This whole debate about how big movies can be is irrelevant that will change when movie theatres stop making money an Hollywood isn’t going let this happen they won’t stop there so that means one thing allow people to pay for digital seats an stream from there houses. Or there money maker will soon cease to exist.
Also I don’t think storj has enough nodes online to be part of his market though there’s just not enough infrastructure to support millions of people streaming.
Movies don’t need to be streamed live… They could be retrieved the days before, then played locally.
No need for such a fast connection unless movies do take several TB each…
Rights & licensing. If you store a copy of it, it falls under difference licensing than if you’re streaming it (Blame MPAA). Given the fact you are given access to a streamable version, ideally you would just stream it to you or you would cache it locally nearest to the minimum amount of time needed to consumption. Studios are worried about pirating and that would yield the least amount of ability, especially when paired with using things like GPG encrypted files with short expiration times.
Basically, I’d envision it being something like a distributed model of the BD+ model where everything is fairly locked down. I acknowledge this is disliked by those that store many “linux ISOs” on their home systems, but we’re talking about AMC, Regal, and the like here.
Netflix and the like don’t have a ton of nodes online either- but what they do instead is store multiple transcode copies for multiple levels of quality/speed and just stream you the “appropriate” one.
While I am quite green with envy for that being quite affordable and residencial available as well, there is more than likely no SLA wrapped around that guaranteeing bandwidth and uptime. Much to my chagrin, this is why business class fiber is usually much-much more.
ive had close to these bandwidth’s for years… granted i don’t really use more than a few hundreds of megabit sustained … which is actually quite difficult, atleast for practical purposes, even with many people…
and the uptime as been like 99.9% for the duration of my subscription, but ofc they have no trouble shutting it down if they wanted to where as business fiber would give people all sorts of legal ammo.
business fiber is i think 200-300 mbit for about the same or twice the price… can’t remember… wasn’t a price i felt like paying unless if it gave me feature i didn’t already have… and at that prices it might be more viable for me to find a different path to the internet from here, so that i had a backup connection… might do starlink one day just to have a backup connection that is non local, i should be high enough in latitude that i should be able to get service pretty soon if not already… duno exactly how their network coverage is but to my understanding it’s in bands / latitude wise on the globe
I’m in that boat as well as someone who might want to have that as a backup connection to the storj network if there is not too much for a bandwidth limit for that.
I"m sure Storj network could be used for this but we need to see the network expand a bit more… Currently there’s still too little use to be able to predict how such large entity would impact the network. We need more nodes for stability and resources.
That would not be a few hundred TB, that would be the number of hard drives they send x film size. Not to mention the bandwidth constraints of downloading all of that within a day or so. Although it’s kind of stupid to upload it to the network when theatres can simply download from them, they would need a different approach.
For bandwidth yes, for storage it would just be the film size.
It would appear anecdotally that the network should be able to cope with a 10fold increase in traffic and a many-fold increase in storage usage, although nobody can know that for certain except Storj Labs themselves.
The biggest challenge would be to persuade a notoriously dinosauric industry to make the change to a new method of distribution.
You would save nothing on storage, actually you’d pay more, and you would save nothing on bandwidth, it would be 100% more. What you’d save is on buying the hard drives (assuming they are not reused, I don’t know) and shipping.
Is anyone at Storjlabs going to investigate this?
When I look deeper into this industry it looks like there are massive storage amounts required, not just for the cinema part, but for the content being transferred to and from different parties. And this is not limited to visual content like trailers, spots, tv and movies, it goes also for professional audio productions.
The solutions they offer often already support Azure, AWS and others as cloud storage. So technically it should be a breeze to get Tardigrade working the same way with them. Here is even a link to become a partner.
Read through our current partners below. If your company is interested in joining our partner program, we would love to talk with you! Please contact us at partners@signiant.com.
I really do believe this industry (including professional audio industry) could offer a lot of use cases for Tardigrade and should thoroughly investigated.
And even if Storjlabs would not partner with them, a look into their portfolios gives a nice overview what the industry needs and what might needed to be built into Tardigrade to offer alternatives for the industry.
i think it’s called CDN content delivery network
it’s what videocoin strives to be or is… difficult to tell when there is basically no insider info on it.
certainly is an interesting field that i only learned about when digging into the whole filecoin thing…
