The John Maxwell Leadership Center at 12Stone Church in Atlanta will be the site of this year's Capture Summit taking place July 25-27. The transformative three-day conference unites top church techs and creatives who want to refine their crafts as Christ’s storytellers via filmmaking, streaming, IMAG and video production. One of Capture’s generous sponsors is DigitalGlue, a leader in video content management, archiving and storage. We talked with DigitalGlue Vice President Solutions Architecture, Philip Grossman, about what the company will bring to Capture 2022.
Capture: What storage solutions will DigitalGlue focus on at the Capture Summit this July in Atlanta?
Grossman: Our creative.space on-premise managed storage (OPMS) solution will be the focus. Now more than ever, having a post-production workflow supported by secure, accessible, and affordable technology is imperative. Forward-thinking churches are investing heavily in video production due to the growing importance of social media, having a great web presence, and now the pandemic. As a result, churches are creating massive amounts of content including testimonials, sermon bumpers, promos, and much more.
While much attention is given to cameras, lenses, lighting and editing platforms, decisions on content management, archiving, and storage are often left until later—much later, like until storage has become a big problem.
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Meet the Digital Glue team at Capture Summit 2022, along with over 500+ of your fellow church filmmakers, techs and creatives. This transformative three-day conference is designed to elevate your team’s game, from filmmaking and streaming to IMAG and video production.
Capture: What makes these products especially ideal for church filmmakers and video production teams?
Grossman: Designed specifically for creatives, managed storage eliminates the need for advanced technical knowledge. Storage decisions often require buy-in from the creatives, department managers, and ultimately the church's executive pastor or business administrator. Why? Because the video content storage solution has to:
1. Fit the church’s video acquisition and editing workflow
2. Be compatible with the church’s IT network infrastructure
3. Ultimately, it has to be affordable.
DigitalGlue’s creative.space is an enterprise-class storage server that is greatly improving production productivity and efficiency at a time when video is playing a huge role in a church’s ability to deliver their message to their congregation. creative.space is the only solution that gives editors the ability to share files and entire folder structures between remote and local storage with FTP using the credentials and permissions managed by the integrated LDAP system. Unlike other storage solutions, creative.space offers a service-based pricing model, bundling next-generation hardware, comprehensive software, and support with proactive monitoring into an all-inclusive fixed monthly or annual rate.
Capture: What would you like DigitalGlue to be known for in the church world?
Grossman: Collaborative storage is all about ease of use and removing interruptions on your team’s day-to-day activities caused by technology. As the amount of data a church production team works with grows, those interruptions start changing from minutes to hours or even days. With creative.space, teams can maximize their limited time by focusing on the work that really matters and producing a higher-quality final product. This translates to better engagement with churchgoers — and increased efficiency to do it more often.
In the past, you had two choices in acquiring a Network Attached Storage system: a large capital purchase or a lease. However, DigitalGlue has introduced a new alternative to the market as an option that simplifies the decision and provides more value: creative.space. It provides high-performance on-premise managed storage with an OPEX financial model, which bundles all the costs related to centralizing storage into a single service with monthly or annual payments with support included. This unique structure allows church teams to start with only the capacity needed currently, with the option to scale if and when they need to. In the past, centralizing storage to reduce operational expenses was cost-prohibitive for many small to medium-size organizations, requiring tens of thousands of dollars in capital cost and yearly maintenance agreements. This all but eliminated the potential savings.
DigitalGlue has changed the “calculus” with creative.space by allowing your church to centralize storage, save on in-house IT support, and consolidate all your costs into a bundled expenditure.
Capture: Is there a new and successful church installation that you'd like to briefly mention here?
Grossman: Church of the Resurrection has experienced a consistent stream of successful installations. When Video Production Manager, Sandy Thailing, needed a shared storage solution for their video editors to access and edit from, on-premise storage was non-negotiable. Seeing an article about creative.space in a well-known house of worship publication, Sandy reached out to learn more about the platform. We ultimately landed on the implementation of two NAS portable //ROGUE units for at-home storage, and an //AUTEUR rack mounted unit that would live at the church. The editors and live production team are able to collaborate over the 10 GbE network to share files. With creative.space, editors are now able to start cutting a service right away by transferring recordings from CoR's rack of Blackmagic Design Hyperdeck Studios resulting in hours of saved time every week. Seeing the value in creative.space and a partnership with DigitalGlue, CoR has installed additional //ROGUEs and //ROGUE PROs across multiple locations and affiliates over the last year.
Capture: Is there anything else that you'd like to share -- perhaps to our readers who'll be meeting you at Capture?
Grossman: I am also a cinematographer and editor, I have produced and hosted a show on the Discovery Channel a few years ago about Chernobyl, and was involved in the HBO Docudrama “Chernobyl”. And have licensed material to Major Motion Pictures (Ridley Scott) and various TV shows (Marvel TV, FX, HBO, FreeForm, etc) I have been a RED Digital Camera Shooter for over 8 years focusing on 8K and HDR.
