Previously, Storage Switzerland blogged about the merits of employing a tape storage hierarchy to cut backup storage costs. Tape media can furthermore add value as a tier in the broader disaster recovery strategy, as well.
As Lead Analyst George Crump overviewed in a recent video, applications are not all created equal when it comes to recovery time objectives (RTOs, the amount of time that it takes to get an application back up and running following an outage)
Check out George’s blog for more details and to view the video:
I often hear from customers that are sitting on scores of legacy tapes with unknown contents beyond a generic “business data” level, and 99+ percent of them are not known at a granular level. As we all know too well, disaster recovery backups morphed into unintentional data archiving these past 10 – 15 years thanks to litigation and government regulatory investigations, along with general business obligations to retain certain records. The duty to preserve has forced businesses to preserve backup tapes if at least one file on the tape might be under some form of preservation obligation. The IT staff almost never has the equipment or human resources to perform targeted restores of data under preservation and stack it together with other similar data, so they take the easy way out: buy more tape and retain existing tapes vs. overwriting their contents. Companies change backup software providers and migrate to newer backup platforms and get stuck paying maintenance and support for software and hardware they no longer use, but might one day.
Brookhaven National Labs (BNL) has grown from 60 PB of data archived in 2015 to 145 PB of data archived in 2018. In this Fujifilm Summit video, David Yu explains how BNL is using tape storage to cost-effectively manage this data growth. In addition, BNL uses an active archive system to provide easy access to data that is frequently needed by the BNL data center and other research institutions.
In this white paper, Brad Johns explains how “a modern tape solution that incorporates StrongLink, a small disk cache and two tape copies of all data, provides a responsive and much lower cost solution while protecting the enterprise’s valuable information.”
The vast volumes of data created daily, coupled with the opportunity to derive value from that data, is making active archives an increasingly important part of organizations’ data management game plans across the globe.
In this Q&A, Active Archive Alliance Chairman, Peter Faulhaber, FUJIFILM Recording Media, U.S.A., Inc., shares his perspective on the role of active archives in managing the data deluge.
Q: What are some of the key trends driving the shift to active archive?
A: I would say the relentless rate of data growth and how to manage it. The answer lies in proper data classification and moving data to the right tier of storage at the right time. Analysts say that 60% of data becomes archival after 90 days or less. So there is a need to cost-effectively store, search for and retrieve enormous volumes of rapidly growing archival content.
Explosive data growth continues to be a top challenge for today’s organizations and this growth is only going to increase in the future. In fact, according to analyst firm IDC, by 2025 worldwide data will grow 61% to 175 zettabytes, with as much of the data residing in the cloud as in data centers.
New technologies and approaches are continually being created to help address this data storage deluge. Members of the Active Archive Alliance from Fujifilm Recording Media, U.S.A., Inc, Spectra Logic, StrongBox Data and Quantum recently shared their insights into what the future looks like for active archives and data storage in 2019. Here are some of their top predictions:
In this Fujifilm Summit presentation, Molly Presley, founder of the Active Archive Alliance, explains how an active archive can provide visibility into your applications and machine generated data with actively assigned metadata no matter what tier it is stored on.
I had the opportunity to attend SC18 last month in Dallas. Every year the Supercomputing Conference brings together the latest in supercomputing technology and the most brilliant minds in HPC. People from all over the world and different backgrounds converged this year for the 30thSupercomputing Conference.
As you can imagine, some of the demonstrations were absolutelymind-blowing and worth sharing. For starters, power consumption in data centers is becoming more of a challenge as data rates continue to surge. Fortunately, 3M was live on the trade show floor tackling this issue by demonstrating immersion cooling for data centerswhich has the potential to slash energy use and cost by up to 97%. As this technology continues to evolve,we could see huge gains in performance and in reducing environmental impacts.
At Storage Visions 2018, held in Santa Clara this past October, I had the opportunity to talk about the future outlook for tape as attendees wanted to know how they were going to store all the data that’s being created. The session I participated in was entitled “Epic Battles with Classic Heros – Flash, HDDs and Tape Slay Data Challenges.” As the title suggests, battling exponential data growth takes more than one storage media type to effectively handle the deluge of data that’s being created (now estimated to be 33 ZB in 2018 and growing to 175 ZB by 2025, according to IDC).
Since its launch in March 2002, the YES Network has been the number 1 rated regional sports network in the USA. From its inception, YES has striven for the highest-quality picture and sound and to be at the leading-edge of broadcast technology. To this end, YES was constructed as an all-digital facility.
To manage its growing library, the network launched a digital archive project. Initially, the plan was to find a way to convert HD content into a file format that could be stored in a system so that producers and directors could easily find and retrieve selected plays to be integrated into classic game and other shoulder programmes. Avid had provided the YES editing systems from the outset, and the original five Avid editing systems were connected to an Avid Omega JBOD array for storage.
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