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Shared Media Storage in 2026: Cloud, On-Prem, or LTO? · Broadcast2Post by Key Code Media

• 0:05
  Speaker A: Three, two, red one. Storage is one of those things everyone thinks they have figured out right up until something breaks, something fills up, or someone asks, hey, can you pull that project from three years ago? And suddenly it's a whole different conversation. Because today storage is not just about capacity. It's about performance, cost, access, security and long term archive strategy. And all at the same time. So how do you actually make the right call in this broadcast to post episode, we're breaking it down in two parts. First, I'll walk you through a practical decision tree, mapping out how creative teams should think about storage and archive, step by step. Then we'll go deeper with an interview with Tom Coughlin, whose annual Media and Entertainment storage report has been tracking real world trends since 2009. We'll also look at what teams are actually doing today, where they're running into trouble, and where storage is headed next. But before we get started, a quick shout out to our partners and this episode's sponsors, sns, Edit, Share and Wasabi. They make some of the best solutions available for creative teams, which is why our engineers install them every day. Now, let's get into it. Storage used to be simple. You bought a server, you added some drives and you were done. Today, it's a lot more complicated and a lot more expensive to get wrong. Cloud on premises, remote teams, rising costs, performance issues. So how do you actually decide what you need? Well, before we jump in, I have a quick disclaimer. This is one example of how a storage strategy can evolve. There's a lot of different ways to build these systems depending on your team, your workflow and of course your budget. So think of this as a guide, not as a one size fits all answer. But it does show you what goes through the minds of storage architects here at kiecodemedia when helping you plan for shared storage. We're going to walk through this as a series of decisions, because the right shared storage strategy comes down to choosing the right trade offs. So let's start at the very beginning and normally the first question is, what's the use case for this shared storage? Because shared storage can be used in a myriad of ways. It could be used for editing, collaboration, it could be used to bridge between different departments. It could also be used for backup and archive in Dr. So we always want to find out what is the first and most important use case. And a lot of times the that comes down to editing. So if we follow this diagram here, you'll see that when folks want to edit with shared storage, the first question is where's the location, Meaning where are the creatives editing? Are they editing at home? Are they editing at the office? If they're editing at the office, that means we have an infrastructure to deploy shared storage to everyone that is within the four walls of that office. So of course one of the things that we always have to check when it comes to on prem storage is what we call speeds and feeds or goes ins and goes outs. And that's when we ask you, how many users do you have that are actively going to hit the shared storage? What is their stream count? Meaning how many concurrent tracks of video or images are they working with at one time? And then what codec these streams are in? Is it something like ProRes or DNX? Or are we looking at something like H264 or H265? And these questions are really important because when we get to, shall we say, lightly compressed formats, that requires a lot of bandwidth and it requires your storage to be very fast and very efficient. And that's when we start getting into SANs. If your creatives are working with high res media and doing a lot of high end color work, you probably want to look into something that is more SAN based or storage area network that's going to give you the maximum amount of throughput, the lowest latency. And we see that a lot with things like StoreNext or Edit Share or Facilis. These are solutions that come in that actually have a file system and are giving you this kind of guaranteed performance. And a lot of them also introduce NVME or solid state layers to cache media so your NLE and your editing applications can access that quicker. When the requirements are a little bit more relaxed, right when we're working with compressed media or maybe just a couple tracks of video, then we can start looking into the more NAS solutions or network attached storage. And these are a little bit more utilitarian. NAS is ideal for teams who are working in proxy or offline workflows that need a simple kind of all in one solution, right, for sharing, review and archive. And they traditionally have a lower price point. A great example we see here at kiecode is the SNS evo, which scales from beginner to even enterprise and includes a suite of tools that you normally have to go out and source and buy with other storage, but in this case it comes directly with the SNS evo. So we also then have to determine are the other people who were editing with you, are they at home as well or are they at the office? And more often than not I'm sure you're seeing this just as we are, that most folks have some kind of hybrid workflow, which means you have people at the office or you have people remote as well, or a mixture. Let's start with remote desktop solutions. Common ones like Jump Desktop and HP anywhere, right? These tools allow editors to securely connect to On Prem workstations that are already tied to the on Prem shared storage. So they can so the editors can edit and collaborate as if they were sitting in in the facility. But if you are remote and you're working completely remote, where everything is local to the system that you're running at home, we get into kind of two different ways of handling that. We have what we like to call push pull. And that's when you're downloading everything from Dropbox or maybe from someone's S3 transfer or an object storage bucket on Amazon. This is where you have to localize or download everything in order to work with it. And this does work. But for folks who have tight turnarounds, that can be really difficult because if you have to wait for gigabytes or hundreds of gigabytes or terabytes to download and you're not on a fast connection, that can take a long time. So that's where we've seen the rise of file streaming. And that's where we get into solutions like Suite Studios or LucidLink and a couple on Prem solutions which I'll get to later, which will allow you to start editing with a file before it's completed downloading. And so for quick turnarounds, projects that have a lot of footage they have to start working with immediately. We can look into file streaming. But there's also the concept of is your WAN efficient enough? Which sounds like a bad joke, but what that means is that there are hardware storage solutions that can sit at your facility and not only serve out media directly to the clients who are at your office, but they can also file stream over the Internet via a secure connection to the machine you're editing on at home. And this is where we get into tools like Facilis with their FAST cache or deploying Suite Studios on Prem with Object Storage. This is a very, very new hybrid way of having your fast, high performance SAN at your office and not have to use the cloud to get content to your remote editors. But editing storage is just one type of storage. We still have the concept of where do we back things up, where do we put things for archive or disaster recovery? So if we move back to the beginning of the diagram, we look at backup and archive and there's a couple different protection types, right? Backup. You got to remember that backup is all about protecting your active projects, right? It gives you fast recovery when something goes wrong, whether that's a deleted file or file corruption or maybe a bad save. It also keeps short term versions of your working data so you can easily roll back and recover in progress content quickly. Archive, on the other hand, is built for the long haul. It's where completed projects live once they're no longer in active production. And this obviously helps up free up space on your primary storage while still preserving assets for future use. But just keep in mind, if you're using cloud for archive, retrieval fees can add up, commonly known as egress, when you need to bring that data back. So when we look at backup, you normally have backup in multiple locations. So normally you pick one or multiple ones of these just in case something goes wrong. And the same thing holds true for archive, right? Arxiv is one of those things. You certainly need to worry about it, but it's not something that you're going back to every day, every week or even every month. It's meant as disaster recovery. What does make things a little bit interesting is that a lot of these technologies are now kind of crossing over each other in kind of a venn dia diagram. You can online, for example, off lto tape, you can do your offline edit. And there are tools out there like storage DNA that will take your EDL and then be able to retrieve the high res from tape. So you can only restore what you need from tape onto your fast storage. And of course there are some places where you're doing your online edit in the cloud. That's not something gets done a ton. But there are folks with quick turnaround that do have to do that. And that plays into the 3, 2, 1 methodology of having content sitting on storage. And that's you have three copies on at least two different media types and at least one version is off site. So if you have three copies and two are on spinning disk and one is on lto, well then that LTO should probably be off site, right? Just in case there's a fire like there was in California, or just in case there was a flood like there was in the southern United States several years ago with the hurricane. So you want to make sure that you have copies of your content in multiple places, on multiple mediums and have them have one copy at least off premises to ensure that nothing that you always have a copy to go back to. And Then of course we get into the discussion that we have almost weekly, which is LTO or cloud. So when it comes to where your backup and archive actually live, you're typically choosing between lto, cloud or often a hybrid of both. LTL gives you the lowest cost for long term storage, and of course it's air gapped right for your protection. Cloud, on the other hand, gives you the accessibility and flexibility. And of course a hybrid approach lets you balance cost, speed and security depending on how often you need to access your content. So when you're deciding between cloud and lto, it really comes down to how often you need to access your content. If this is deep archive that you rarely touch, then LTO is probably going to be the better fit. It's the most cost effective at scale. It gives you a true air gapped protection and avoids ongoing storage fees. If you need to access or share or retrieve content regularly, then cloud probably makes more sense for you. It gives you that instant access, obviously from anywhere, and makes collaboration with clients or remote teams that much easier. This keeps the flow moving forward instead of sounding like a repeat. So it really comes down to determining a capacity, B how long you're going to keep this backup or archive, and C how quickly do you need this content back? And then we take a look at that cost over several years and then we'll see if over three to five years, usually what is going to be the breaking point when the costs break even, when you would have paid the same for LTO than you would have for cloud. And again, it just comes down to a calculation giving all those variables I mentioned. At kiecodemedia, we design storage and archive systems for creative teams of every size, from small post teams to enterprise organizations. We help with system design, installation and training so your workflow actually works the way that your team needs it. So we put our heads together here at Keycode Media and put together some storage and archive product bundles to help give you a sense of what you'll need for your creative team. First is the creative team on PREM bundle, which gives you fast, reliable shared storage with tools from Studio Network Solutions or editshare. And this usually starts around $25,000 to $75,000. Next we have the Hybrid Team Plus Cloud Archive Bundle, which adds Wasabi cloud storage and remote collaboration with suite studios. And that's usually about 60k to $150,000 plus of course cloud costs. And lastly we have the Enterprise bundle, which brings it all together with high performance storage iconic for asset management and LTO archive with storage DNA the gold standard starting around $150,000 and up. Now, the biggest mistake we see isn't buying the wrong storage. It's putting the wrong data on the wrong tier and then paying for it over time. So if you're mapping out your storage strategy, start with the decision points that we've covered today and then reach out for free consultation. We'll help you design a system that fits your team, your workflow and scales with your content. Joining us today is Tom Coughlin. Tom is president of Kalklin Associates and a storage Analyst with over 40 years in the industry. He contributes to publications like Forbes and Post Perspective. We love you, Randy. He also hosts an annual storage conference and is the past president of the ieee. Now Tom has a unique view into what teams are actually doing today, where things are breaking and where storage strategies are headed next. Tom, we have so much to cover today, so let's get right into your media and entertainment storage report because it really grounds the conversation and, and for those who aren't familiar, can you tell everyone out there what this report is and how you put it together?
• 14:45
  Speaker B: Sure. So it's a comprehensive report on every element of digital storage technology that goes into professional media and entertainment. The sources and methodology involves I do a survey of people in the media and entertainment industry that used for finding out what's going on. But I also attend conferences, various events in the industry and talk to people about, you know, what they're doing. And then I put that all together and it ends up turning into this report and the report. The next additional report I think will be available by late May or June this year and it's going to be at the Tech papers page on my website. You're welcome to take a look at that. About that timeframe, it should be the new one should be available based upon the most recent surveys and latest results, including from the upcoming national association of Broadcasters show in April.
• 15:50
  Speaker A: This report's been going on for I think 2009 was the first one. So how is this, how has the report evolved since then?
• 15:57
  Speaker B: Oh, it has evolved a lot. So media contents evolved in much higher resolution, higher frame rates, greater color gambit, and a lot of other changes over time. People are doing a lot more using a lot more cameras, capturing higher resolution content. So the storage demand in this industry has increased and at the same time we've also had remote workflows, cloud based workflows becoming more common or at least an element in a lot of people what a lot of people do. And today we're seeing Artificial intelligence, as it is in almost every other industry, is playing an increasing role in the digital media industry. And so my report and the survey that I've done in supporting that report have evolved significantly over time to take these developments into account.
• 16:43
  Speaker A: That kind of brings me to my first question, is that when you look at the latest results, what were the biggest shifts or surprises? Was it AI, Was it more or less cloud computing? What was the biggest surprise in your latest report?
• 16:58
  Speaker B: So in the upcoming report we're going to see. Well, first of all, we saw cloud based services becoming more common, but also there is a trend towards data repatriation and there's a number of reasons why people are doing that. They're not abandoning the cloud, but they're using the cloud in more selective ways to control costs, sometimes for data protection, IP protection, that kind of thing. Today's workflows, I think, increasingly include a hybrid of one or more cloud based services as well as on premise storage. So those are some of the things, I think some of the big changes that we're seeing, you know, and AI, of course, is also playing an increasing role, particularly I think currently on metadata generation, things of that sort, analyzing content, but ultimately in fact for actually creating content itself. And that could have interesting implications on storage demand, which might be quite surprising in my opinion.
• 17:57
  Speaker A: All right, Tom, we have a graph here that came from your report that I'd like you to explain a little bit. And it's the percentage of recording media in professional video cameras. And I thought this was a pretty interesting graphic. Can you kind of describe this?
• 18:10
  Speaker B: Sure. So first of all, there's a pie chart of the 2025 survey results there, which shows that flash memory is a vast majority of camera storage followed by hard disk drives. The flash, for instance, makes a lot of use for a portable camera, for camera that's being taken on, you know, on set. But if you're actually in a studio environment, the cost, the lower cost, the higher storage capacity you can afford to buy of a hard disk drive makes those attractive for a lot of studio recording. They have enough bandwidth generally to be able to do that. But there's also the interesting trend there, which the table is showing of some people recording directly to the cloud. And so we started to track this in our 2022 surveys survey. And you can see that back then we got about 0.7%. The most recent survey in 2025, that actually was up to about 4%. And that's what's shown in the pie chart there. The other thing here you See the history from our first survey in 2009 through 2025 that the growth in that flash storage being used in cameras increasing as the capacity and cost of NAND flash storage SSDs went down, that began to be used more. They're more rugged, they're great to be used for taking on an outside set or on, you know, out in the nature, et cetera.
• 19:41
  Speaker A: Okay, let's pull up a few of the results from your survey, Tom. And for those who are watching, we're looking at real survey data from Tom's report showing how teams are structuring storage today. Tom, can you kind of talk us through this?
• 19:53
  Speaker B: So this particular chart is a pie chart that's showing survey participants response when asked where they're storing their archives. The highest amount was in external hard disk drives. And then the next category down was digital tape, which is largely LTO tape. And then in the cloud, which could be a number of different types of storage technology and then a variety of various types of optical disks which some people are still using for their archive content.
• 20:21
  Speaker A: I'm glad to see that LTO is still taking up such a large portion because it is a very economical way and safe way to store things in a non volatile way. So I'm very glad to see that that is still taking up a sizable percentage. Tom, let's talk about where things are going. Are most teams that you're talking to kind of prepared for these larger rasters, the 4Ks, the 8K multicam workflows, or are they underestimating how much storage they're actually going to need?
• 20:52
  Speaker B: Well, I think a lot of the teams now are familiar enough with these technologies because they've been using them, you know, in cameras and keeping the content that they can anticipate the growing storage requirements, however. But it remains to be seen, I think, what impact AI will have on that storage growth.
• 21:08
  Speaker A: If we were to look at a crystal ball, do you find that AI is going to utilize more storage for training fodder or do you find that AI is actually going to be more efficient and help you not have 30 copies of your media and thus reducing your footprint in the cloud?
• 21:25
  Speaker B: Well, both. And there may be even further economies that are possible depending upon what you're using the AI to do. And you're. For instance, if I'm capture, if I don't have to go on, on set someplace, you know, to do in order to get recording, in order to get a content that includes that location because I'm using AI instead, then it actually could Cut down on your multi camera. So I think there's, there's things that push towards more storage, push towards less. I think overall though it's going to lead to greater storage demand overall, although the way you store things could be changing.
• 22:04
  Speaker A: Oh, and that brings us to another question that we get asked quite a bit, which is how should a media team decide what stays on prem versus what we're putting in the cloud?
• 22:15
  Speaker B: Well, I think one of the things that's very important is to understand where your data is going to live. For instance, you can keep the original high resolution content on premise, you know, and have a master copy while still using cloud based services for operating on that content in a disciplined way without needing to then repatriate the additional content if it is needed. And this also fits into I think concepts around data protection in General, like the 3, 2, 1 rule for archiving things of that sort. So I think people are taking a much stronger look at where their IP lives and how they use other people's services and processing that content in their workflows.
• 22:59
  Speaker A: And speaking of cloud, we're hearing more and more about cloud repatriation and you mentioned this at the onset, is that teams were doing cloud first or experimenting with cloud and it seems like they've pulled back a little bit. What do you think went wrong with those initial strategies that are now causing folks to kind of pull back from using the cloud as much?
• 23:21
  Speaker B: Yeah, I think one of the biggest issues that people ran into was the ongoing cost of using cloud based services. You have to remember that basically they're buying all the hardware and they're having to sell, having to sell those services that provides a profit only over the price of that hardware. And also if you're not carefully controlling your use of this, you can end up with expenses that much more than you thought you were paying for. And then if you want to get the data back out and it's only in the cloud, you have to pay egress charges as well. So many people I think are doing at least some of their workflows in the cloud, but also keeping master copies of their content on premise. And I think there's a movement especially towards that, unless you're totally dedicated to doing everything on one cloud, that it makes sense to give yourself some freedom and also additional data protection capability by keeping more than one copy of the content. And one of those being on premise.
• 24:19
  Speaker A: If we were to talk to a corporate team or maybe a newer post facility, what does a modern storage architecture actually look like today?
• 24:29
  Speaker B: So I'VE talked to folks in the industry about this. It depends part upon the size of the facility. For example, if it's a small facility, they might keep everything in on one or two types of storage. If it's a larger facility in particular, then I think you often will see. I've seen a mix of local storage, local network storage, and then also cloud based storage and services that they use in their workflows.
• 24:58
  Speaker A: Let's now pivot to cost, the inevitable question that we always get asked and I think we'd be remiss if we didn't tackle that. So what's the most cost effective storage strategy right now for a growing creative team?
• 25:11
  Speaker B: So I think a really important one is be disciplined in your use of cloud based services and storage. I did hear a story at an industry event not too many months ago where there were people who had been using cloud services and they accidentally had something and they left going overnight that they probably didn't want to do and they ended up with thousands of dollars of additional charges that they didn't plan on. So the discipline and use of storage, cloud based services and storage, it's convenient, but maybe too convenient sometimes. Again, I think keeping a master of your math of your content on premise avoids later egress charges. And additionally I think comparing the offering of prices for various cloud based services and the possibility of considering a multi cloud approach that does various things in different clouds with you controlling a master cloud, a master copy of the content, those are things I think that could increase your efficiency and control your costs in storage.
• 26:11
  Speaker A: What's the biggest hidden cost in storage that teams just don't plan for?
• 26:16
  Speaker B: Well, part of it could be is anticipating your maximum demand without over provisioning. So I think over provisioning and planning on architectures and workloads that are the are most cost effective in doing your work is some of the biggest hidden costs that you could run into if you're not careful. Another is managing your storage and other operating costs, particularly when using cloud based services. But again they can be a resource, but again, you know, use it, use that wisely to manage that, to get the advantage, to get that real advantage from.
• 26:54
  Speaker A: I would argue that the hidden cost would be more on the labor portion because folks don't delete things, they throw things on storage and then they have to go and find it. And without any kind of asset management or discovery solution, you're spending minutes per day, hours per week trying to find something and it may be a wrong version.
• 27:17
  Speaker B: Well, that's a good point. You know that the other thing is being accessing your content when you need it. And that can have a real cost in terms of, you know, your quality of service basically and providing value to your customers. And that's also a place where, you know, AI is playing a role to creating metadata and ways that I can find things when I need it.
• 27:37
  Speaker A: And speaking of being able to find things, let's start talking about archive. Right, because that's where kind of the rubber meets the road when it comes to having a, a snapshot in time of your content. So when we look at things like lto, does LTO still make sense today versus moving to a cloud archive? If we go on the assumption you manage your cloud archive well and you're not leaving machines running when they don't need to be, do you still see LTO as a viable cloud alternative? Or are people more transitioning to the cloud than sticking with lto?
• 28:13
  Speaker B: Well, in actuality, just keep in mind that most cloud archives actually use magnetic tape for their deeper archives. So you're using tape, you might be using tape anyway, even though it's in the cloud. But, you know, if you're a large enough facility, in particular, having local LTO tape storage may make sense.
• 28:31
  Speaker A: So given all of that, what does a well architected archive strategy look like to you in 2026?
• 28:39
  Speaker B: You know, ultimately people are going to be, I think whether they're intentionally doing it through the cloud or doing it themselves, they're using tiering that somewhere, whether it's locally or in the cloud, somebody is keeping different kind of content, content on different types of storage, including SSDs, hard disk drives and tape, depending upon the demand upon that. And so you can do that yourself. You know, if you have the resource, you're large enough, or, or it's important enough to you, or you could be using cloud to do that, or multiple clouds to do it. So I, you know, I, I don't think one size fits all and there's a lot of facets in terms of people's decisions. But I think tiering ends up happening one way or another, which can use more than one type of storage technology.
• 29:29
  Speaker A: Let's move to AI. That's the question that comes up in every single meeting, every single phone call. So when it comes to AI, where are you seeing real adoption of AI today? Is it things like metadata creation, metadata harvesting? Is it the more pedestrian transcription and content tagging? Where are you seeing AI intersecting storage today?
• 29:53
  Speaker B: So I think we need to think about separating the metadata from the content connected to the content, that it points where the content is. But if I can access the metadata much more quickly, like say it's on SSDs versus and even though the content may be on hard disk drives or possibly tape, it speeds up enormously knowing where that data is and what that data is. And is it the data you want even before you directly access it. So I think there's a lot of value in taking these approaches.
• 30:25
  Speaker A: Are there any AI generated metadata tools today that you feel are doing a really good job? And where are they also kind of falling short?
• 30:35
  Speaker B: Well, there's a number of companies that have introduced metadata creation tools, you know, actually for many years. They've been around and I think. But I think they're also getting better. And like I say before, you know, I think the real key for making these useful is going to be right now. People have been spending lots of money to create these general tools for transcription or being able to generate content. But if it's going to include things that are specific and more useful in the media and entertainment world, it needs to training or improved inference using real rich media content, I think. And that will improve the accuracy and usefulness of the generated metadata, make it all the more useful for people in the field.
• 31:25
  Speaker A: Are those models good enough now to go back and enrich older archives with AI to potentially remonetize or repurpose those? Or is that still kind of a future concept that we need to just bide our time until that's a reality?
• 31:40
  Speaker B: I think teams are doing that today already and I think it'll become more common in the future as its usefulness increases. And it could be things like this will become differentiator in terms of people being able to provide, first of all, rapid and productive workflows, but also for people that are on, you know, on a deadline or, you know, if you're working on news or something as fast breaking, to be able to enrich your stories with contextual historical data makes that much easier to do. And so I believe that this is happening and I believe it will become even more common in the future that all archives will become active archives. And AI is going to be a big, of course, is already a big driver in many areas, but it's going to be in the media and entertainment field as well.
• 32:34
  Speaker A: So I'm kind of curious on your input on how AI is actually impacting hard drive and storage availability. Is it the same issue we have with GPUs or is it something differently entirely?
• 32:46
  Speaker B: First of all, GPUs can only run if they have data. Data lives on storage devices. Devices and access to that data and keeping the GPUs fed depends upon both performance and capability of storage devices, but also the interfaces they've got. But there's another factor right now too is that SSDs are used as primary data increasingly, probably mostly in these AI data centers for training data and even in inference. On the other hand, the vast bulk of data, over 80% of all the data in data centers is living on hard disk drives. It's probably going to remain so, but because of that AI demand for this higher performance storage, the price of SSDs, the dollar per terabyte, has probably more than doubled from what it was last year. Hard disk drives have also increased in prices. There's shortages in every type of storage and memory technology out there, but their increase has been less so in a sense in terms of the general economy of storing stuff. The hard disk drives and magnetic tape for that matter too are more attractive versus SSDs than they were at least in the past few years.
• 34:01
  Speaker A: So given all of these challenges, whether it be financial, due to the increase of cost of goods or scarcity or availability, and the kind of processing that AI needs, what would be your suggestion for an AI ready storage system for a post production team right now?
• 34:18
  Speaker B: And with the current economic situation in terms of supply, I think that hard disk drives can provide economical storage for content not immediately being used, flash for use where the media is currently used, and maybe tape for the content that you're keeping for the longer term. If you can tape tier, you may look at doing this in the cloud because the reason why we're having these shortages because the hyperscaler cloud guy has been buying so much of this stuff. So it might be versus what you can do versus what you do with the cloud. Actually right now I've got this interesting situation where the cloud may have more availability of stuff than you do, even though it costs more. So that's another factor in terms of, you know, your opportunity costs versus your actual Opera, your actual OPEX and even Capex costs, that right now may be a consideration in terms of media, media, entertainment workflows.
• 35:21
  Speaker A: So Tom, to wrap things up, if you were to give one piece of advice to a creative team who's rethinking their storage strategy today, what should they focus on first?
• 35:32
  Speaker B: So I think people should be looking at whether your current approach to storage is resulting in more cost effective workflows that meet the needs of your customers. You know, are you spending too much on remote services in egress. Do you need to use those services because you can't get local storage right because of current shortages? And what's the best balance in general between local versus cloud services? The storage that work today but also work in the future, and especially with the application of AI to create new ways in which we can find and use content. How does that impact where you choose to have things and how you store stuff and what you store it on?
• 36:14
  Speaker A: Tom, thank you so much for all of your info today. Thank you for sharing the report with us since 2009 and we'll see you on a future podcast.
• 36:21
  Speaker B: Very good. Thank you for having me.
• 36:23
  Speaker A: Thanks for watching. Broadcast to Post don't forget to follow Keycode Media on social media and contact us about your projects at keycodemedia.
• 36:32
  Speaker B: Com.