Editstor ES/EO Configuration. Ports and Bandwidth

Transcription

1 Editstor ES/EO Configuration Editstor ES/EO is an Ethernet based storage system for digital video editing systems. To properly configure the system you need to know the following: Number of editing clients Types of codec to be used on each system Number of expected streams per client With this information use the tables to calculate the bandwidth needed and configure the Editstor ES/EO system to meet the requirements of the systems. Ports and Bandwidth The number and type of ports installed in the Editstor ES determines the bandwidth of the connections and the total available bandwidth up to the max of the system. The standard Editstor ES ships with 4 ports of 1gigE for clients. Which is a total of 400 MB/sec with each port being 100 MB/sec. Adding a second 4 port card to the ES brings the bandwidth up to 800 MB/sec with 8 ports at 100 MB/sec each. You can aggregate the ports to a switch using bonding inside of Editstor ES and the switch. Single 4 port card 400 MB/sec 4 ports 100 MB/sec Two 4 port card 800 MB/sec 8 ports 100 MB/sec The 10gigE upgrade opens the bandwidth up to Editstor EO max performance and simplifies the installation of systems greater than 8 clients. To take advantage of the higher bandwidth of expansion chassis the 10gigE upgrade is needed. The 10gigE upgrade allows for higher video resolutions. The quad 10gigE card in the Editstor EO allows for 1000 MB/sec bandwidth with a single chassis, 1200, with 1 expansion and 1500 with 2 expansions as long as the expansion chassis are in the same vg (volume group) as the main engine.

2 Calculations Examples For example: There are 4 editing systems using Avid, FCP or Adobe Premiere Pro. Using the tables the breakdown is as follows. Systems Codec Streams MB/sec 4 DNxHD p/ MB/sec 2 ProRes 1080p MB/sec So there are a total of 6 systems. That needs a total of 212 MB/sec bandwidth, to run the codecs and stream count. So a standard system with a 4 port card is good for this configuration with each client directly connected to Editstor ES/EO Another example: There are 8 editing systems using Avid and 2 using FCP or Adobe Premiere Pro. Using the tables the breakdown is as follows. Systems Codec Streams MB/sec 2 DNXHD i/ DNxHD p/ way ProRes 1080i So there are a total of 10 systems. That needs a total of 398 MB/sec bandwidth, to run the codecs and stream count. So a 24 port switch and standard Editstor ES with all 4 ports bonded can deliver the bandwidth for this configuration with little or no overhead. Adding a second port card or a 10gigE card with a 10gigE uplink on the switch would give more overhead on the bandwidth. The Editstor EO has 4 ports of 10gigE and provides the maximum bandwidth of the chassis. The tables below are to be used to properly configure and setup the systems. Editstor ES/EO Card Bandwidth Cards ES/EO chassis +1 Expansion +2 Expansion One 4 port card Two 4 port cards Quad 10gigE card EO

3 Editstor ES/EO Performance Charts MCL stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. Items in blue are supported on clients with dual port configuration only with MC. Standard Definition Resolution Format Number of Streams per client (MB/s) Multi- - - cam (MB/s) way way DV 25 30i NTSC PAL DV MPEG 30 30i NTSC 25i PAL MPEG MPEG JFIF 35:1 24p p NTSC p, 24p PAL :1 24p, p NTSC p, 24p PAL :1 24p, p NTSC p, 24p PAL :1 24p, p NTSC p, 24p PAL :1 24p, p NTSC p, 24p PAL :1 SD 24p, p NTSC MCL 25p, 24p PAL MCL MCL MCL MCL 110 MCL 1:1 10b SD 24p, p NTSC MCL MCL MCL MCL 110 MCL 25p, 24p PAL MCL

4 HD 720p Resolution Format Number of Streams per client (MB/s) (MB/s) 5 6 1: bit HD 142 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 106 MCL MCL MCL MCL MCL MCL MCL DNxHD 220 X MCL 140 MCL DNxHD MCL 140 MCL ProRes HQ MCL MCL MCL DNxHD MCL 92.5 MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL XDCAM p/ MCL MCL MCL 40 MCL DVCPRO HD MCL MCL MCL ProRes Proxy MCL MCL MCL H264 Proxy MCL MCL MCL 1: bit HD 120 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 89 MCL MCL MCL MCL MCL MCL MCL DNxHD 185 X MCL MCL DNxHD MCL MCL ProRes HQ MCL MCL MCL DNxHD MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL DVCPRO HD 720p/ MCL MCL MCL MCL 40 MCL XDCAM MCL MCL MCL MCL 25 MCL XDCAM MCL MCL MCL MCL 17.5 MCL XDCAM MCL MCL MCL MCL 40 MCL AVC- - - Intra MCL 70 MCL MCL MCL MCL ProRes Proxy MCL MCL H264 Proxy MCL MCL MCL *MCL Stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. *Items in blue are supported on clients with dual port configuration only in MC

5 1: bit HD MCL MCL MCL MCL MCL MCL 1:1 HD MCL MCL MCL MCL MCL DNxHD 220 X MCL 140 MCL DNxHD p/ MCL 140 MCL ProRes HQ MCL MCL MCL DNxHD MCL 92.5 MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL DVCPRO HD MCL MCL MCL : bit HD MCL MCL MCL MCL MCL MCL 1:1 HD MCL MCL MCL MCL MCL DNxHD 90 X MCL DNxHD MCL ProRes HQ MCL MCL MCL DNxHD p/ MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL 1: bit HD MCL MCL MCL MCL MCL MCL 1:1 HD MCL MCL MCL MCL MCL DNxHD 90 X MCL DNxHD MCL ProRes HQ MCL MCL MCL DNxHD MCL ProRes 720p/ MCL MCL MCL ProRes LT MCL MCL MCL XDCAM MCL MCL MCL MCL 25 MCL XDCAM MCL MCL MCL MCL 17.5 MCL DVCPRO HD MCL MCL MCL ProRes Proxy MCL MCL MCL *MCL Stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. *Items in blue are supported on clients with dual port configuration only in MC.

6 HD 1080i Resolution Format Number of Streams per client (MB/s) 5 6 1: bit HD 150 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 125 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL MCL DNxHD 220 X MCL 140 MCL ProRes HQ MCL MCL MCL DNxHD MCL 140 MCL DNxHD MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL XDCAM i/ MCL MCL MCL 40 MCL XDCAM MCL MCL MCL 12.5 MCL DVCPRO HD MCL AVC- - - Intra MCL MCL MCL MCL AVC- - - Intra MCL MCL MCL MCL ProRes Proxy MCL MCL MCL H264 Proxy MCL MCL MCL 1: bit HD" 131 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 105 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL MCL DNxHD 185 X MCL MCL DNxHD MCL MCL ProRes HQ MCL MCL MCL DNxHD MCL 80 MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL DVCPRO HD 1080i MCL XDCAM MCL MCL MCL 40 MCL XDCAM MCL MCL MCL 12.5 MCL ProRes Proxy MCL MCL MCL MCL H264 Proxy MCL MCL MCL *MCL Stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. *Items in blue are supported on clients with dual port configuration only in MC

7 HD 1080p Resolution Format Number of Streams per client (MB/s) 5 6 1: bit HD 150 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 125 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL DNxHD 220 X MCL 140 MCL DNxHD MCL 140 MCL ProRes HQ MCL MCL MCL DNxHD MCL 92.5 MCL ProRes MCL MCL MCL ProRes LT MCL MCL MCL XDCAM p/ MCL MCL MCL 40 MCL DNxHD MCL ProRes Proxy MCL MCL 1: bit HD" 131 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 105 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL MCL DNxHD 185 X MCL MCL DNxHD MCL MCL ProRes HQ MCL MCL MCL DNxHD MCL 80 MCL ProRes MCL MCL MCL ProRes LT 1080p/ MCL MCL MCL XDCAM MCL MCL MCL 40 MCL DNxHD ProRes Proxy MCL MCL *MCL Stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. *Items in blue are supported on clients with dual port configuration only in MC.

8 1: bit HD" 126 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 101 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL DNxHD 175 X MCL 115 MCL DNxHD MCL 115 MCL ProRes HQ MCL MCL MCL DNxHD MCL 77.5 MCL ProRes 1080p/ MCL MCL MCL ProRes LT MCL MCL MCL XDCAM MCL MCL MCL MCL 25 MCL XDCAM MCL MCL MCL MCL 17.5 MCL XDCAM MCL MCL MCL 12.5 MCL DNxHD ProRes Proxy MCL MCL MCL 1: bit HD" 126 MCL MCL MCL MCL MCL MCL MCL 1:1 HD 101 MCL MCL MCL MCL MCL MCL MCL RGB ProRes MCL MCL MCL MCL MCL MCL DNxHD 175 X MCL 115 MCL DNxHD MCL 115 MCL ProRes HQ MCL MCL MCL DNxHD MCL 77.5 MCL ProRes MCL MCL MCL ProRes LT 1080p/ MCL MCL MCL XDCAM MCL MCL MCL MCL 25 MCL XDCAM MCL MCL MCL MCL 17.5 MCL XDCAM MCL MCL MCL 12.5 MCL DNxHD ProRes Proxy MCL MCL MCL *MCL Stands for Media Composer Limitation. Adobe and Final Cut have no such limitation. *Items in blue are supported on clients with dual port configuration only in MC.