Read more from our Video Technology 2020 series:
The “cloud” is merely a collection of physical data centers in multiple locations around the world—not much different than a small storage center you might have. Of course, they employ more advanced systems for power, redundancy, and security than you do. When you work with one of the companies marketing cloud-based editing or a review-and-approval service, like Frame.io or Wipster, they provide the user-facing interface, but are actually renting storage space from one of the big three cloud providers—Google, Amazon, or Microsoft.
There are three reasons that I’m skeptical about ubiquitous, cloud-based editing (with media at native resolutions) in the short term: upload speeds, cost, and security.
5G (fifth generation wireless) is the technology predicted to offer adequate speeds and low latency for native 4K (and higher) media. While 5G will be a great advancement for many things, it’s a short distance signal requiring more transmission spots than current wireless technology. Full coverage in most metro areas, let alone widespread geographical coverage worldwide, will take many years to fully deploy. Other than potential camera-to-cloud uploads of proxy media in the field, 5G won’t soon be the killer solution. Current technology still dictates that if you want the fastest possible upload speeds for large amounts of data, then you have to tap as close as possible to the internet’s backbone.
Cloud storage is cheap, but extensive upload and download times aren’t. Unfortunately modern video resolutions also result in huge amounts of data generated on every shoot. Uploading native 4K media for a week-long production is considerably more expensive than FedEx and overnight charges to ship drives. What about long term storage? Let’s say that all of your native media is in the cloud and you pay according to a monthly or annual subscription plan. But what if you want to stop? That media will have to be downloaded and stored locally, which will incur data rate charges, as well as your time to download everything.
Think these sites are unequivocally secure? Look at any data hack at a major company. Security is such a concern in our business that most major movie studios won’t let their editors connect the computers to the internet. Many make these editors check their cell phones at the door. No matter how secure, it’s going to be a hard sell, except for limited slices of the production, such as cloud-based VFX rendering.
I do believe 2020 will be a year in which many will take advantage of some modes of long distance, cloud-based edit services using low-res proxy media. Increasingly some services will be used to move dailies and deliverables around the globe via the cloud. But that’s a big difference from cloud-based editing becoming the norm. One edit scenario many will experiment with is to store the edit project files in the cloud, but with the media mirrored locally at each edit site. This way only the lightweight files used for edit collaboration need be moved over the internet. Think of this as Google Docs for editing. Adobe already offers a version of this, but I suspect you’ll see others, including solutions for Final Cut Pro X. So while true cloud-based editing is not a near-term solution, bits and pieces will become increasingly commonplace.