The Society of Television Engineers

Welcome to the Society of Television Engineers Web Site.  Established in 1940, STE is an organization unique to Los Angeles, Hollywood and the surrounding areas.  Its members include key individuals involved in television broadcast engineering and the manufacture of television broadcast equipment.  The purpose of the STE is to provide a common ground for people in the video, broadcasting and related technologies to meet up, trade experiences and learn about new products and methods.  If you are working in video production, broadcast, post production, or systems design/integration, you will find others with similar backgrounds at the STE.

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Meetings

STE dinner meetings are usually held on the third Thursday of each month except for July and August. Meeting activities include a social cocktail hour, dinner, a table-by-table industry event reports and introduction of guests. This is followed by a formal program that covers new or interesting broadcast, production and post production systems, standards, products, or techniques.  Meetings are open to anyone interested in the field.



Sign Up for Meeting Notices

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Previous Presentation Slides
Several of our presenters have made copies of their presentations avalable for download, you can find them on the Previous Meetings page
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Next STE Monthly Meeting February 13th, 2020
 
New Two-Tier Paradigm Replaces 
Asset Storage Pyramid
Increasing scale, collaboration and diversity of workflows are driving the media and entertainment industry toward a new model for media storage. Content growth, ever increasing file sizes and resolutions have placed tremendous pressure on storage systems. The modern media organization demands productive collaboration, meaning timely multi-site access to assets is crucial to success. Furthermore, modern workflows rely on efficient analysis and adaptive workflows, with organizations often requiring simultaneous workflows within a single infrastructure, exceeding the functionality of the traditional file systems. 
The modern media storage paradigm focuses on the usage of assets, combining a file-based “project tier” and an object-based “perpetual tier” in a new two-tier paradigm. The project tier leverages the file system’s high bandwidth, high-performance random I/O and ability to write to any location within a file to manage dynamically-changing assets and workspaces. The perpetual tier relies on object storage’s use of HTTP to maintain a simple, RESTful interface that can operate at scale, send an object in multiple parts and retrieve a range or part of an object. The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
Increasing scale, collaboration and diversity of workflows are driving the media and entertainment industry toward a new model for media storage. Content growth, ever increasing file sizes and resolutions have placed tremendous pressure on storage systems. The modern media organization demands productive collaboration, meaning timely multi-site access to assets is crucial to success. Furthermore, modern workflows rely on efficient analysis and adaptive workflows, with organizations often requiring simultaneous workflows within a single infrastructure, exceeding the functionality of the traditional file systems. 
The modern media storage paradigm focuses on the usage of assets, combining a file-based “project tier” and an object-based “perpetual tier” in a new two-tier paradigm. The project tier leverages the file system’s high bandwidth, high-performance random I/O and ability to write to any location within a file to manage dynamically-changing assets and workspaces. The perpetual tier relies on object storage’s use of HTTP to maintain a simple, RESTful interface that can operate at scale, send an object in multiple parts and retrieve a range or part of an object. The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
Increasing scale, collaboration and diversity of workflows are driving the media and entertainment industry toward a new model for media storage. Content growth, ever increasing file sizes and resolutions have placed tremendous pressure on storage systems. The modern media organization demands productive collaboration, meaning timely multi-site access to assets is crucial to success. Furthermore, modern workflows rely on efficient analysis and adaptive workflows, with organizations often requiring simultaneous workflows within a single infrastructure, exceeding the functionality of the traditional file systems. 
The modern media storage paradigm focuses on the usage of assets, combining a file-based “project tier” and an object-based “perpetual tier” in a new two-tier paradigm. The project tier leverages the file system’s high bandwidth, high-performance random I/O and ability to write to any location within a file to manage dynamically-changing assets and workspaces. The perpetual tier relies on object storage’s use of HTTP to maintain a simple, RESTful interface that can operate at scale, send an object in multiple parts and retrieve a range or part of an object. The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.Speaker Bio:                               
Speaker Bio:

Increasing scale, collaboration and diversity of workflows are driving the media and entertainment industry toward a new model for media storage. Content growth, ever increasing file sizes and resolutions have placed tremendous pressure on storage systems. The modern media organization demands productive collaboration, meaning timely multi-site access to assets is crucial to success. Furthermore, modern workflows rely on efficient analysis and adaptive workflows, with organizations often requiring simultaneous workflows within a single infrastructure, exceeding the functionality of the traditional file systems. 
The modern media storage paradigm focuses on the usage of assets, combining a file-based “project tier” and an object-based “perpetual tier” in a new two-tier paradigm. The project tier leverages the file system’s high bandwidth, high-performance random I/O and ability to write to any location within a file to manage dynamically-changing assets and workspaces. The perpetual tier relies on object storage’s use of HTTP to maintain a simple, RESTful interface that can operate at scale, send an object in multiple parts and retrieve a range or part of an object. The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
Bio: Todd Arnold has more than 25 years of experience in film, media, and sports entertainment.  As a veteran of the media and entertainment industry and skilled master over B2B sales and client success, he brings his experience from transforming a film services company into an international and cutting-edge leader, which included leading a team of engineers who design a motion picture densitometer that won an AMPAS Academy Award (Oscar) for scientific and technical achievement.


Topics of Discussions:

Increasing scale, collaboration and diversity of workflows are driving the media and entertainment industry toward a new model for media storage. Content growth, ever increasing file sizes and resolutions have placed tremendous pressure on storage systems. The modern media organization demands productive collaboration, meaning timely multi-site access to assets is crucial to success. Furthermore, modern workflows rely on efficient analysis and adaptive workflows, with organizations often requiring simultaneous workflows within a single infrastructure, exceeding the functionality of the traditional file systems. 

The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
The modern media storage paradigm focuses on the usage of assets, combining a file-based “project tier” and an object-based “perpetual tier” in a new two-tier paradigm. The project tier leverages the file system’s high bandwidth, high-performance random I/O and ability to write to any location within a file to manage dynamically-changing assets and workspaces. The perpetual tier relies on object storage’s use of HTTP to maintain a simple, RESTful interface that can operate at scale, send an object in multiple parts and retrieve a range or part of an object. 

The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected.

Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.
The technology enables encryption and access controls (Uniform Resource Identifier or URI) for safe sharing of creative assets across the public internet and pre-staging of objects at remote locations. The semi-static nature of objects further allows them to be cached in global content delivery networks for cloud-based distribution of completed files and their respective descriptive manifest. Content moves seamlessly between the two tiers as assets are manipulated, analyzed, shared and protected. 
Join us for a deeper look into the nuances of the two-tier system and what this redefinition means to the industry at large. We will follow the journey of creative assets through this two-tier model and provide new insights on how media organizations stand to benefit from this modern framework.




Happy New Year 2020 

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Board Members & Officers

Board for 2019-2020:


Officers
President - Jeff Longbottom
Secretary - Katy Yu

Treasurer - George Hamilton


Charter Members

Tony Cieniewski

Paul Chapman


At-Large Members

Rafic Ghoogassian

Jerry Isenhower

Erik Mahoney

 


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