Synology focuses this NAB 2026 discussion on storage architecture for video production, post-production, backup, and archive workflows, where fast all-flash storage has to work together with dense, lower-cost capacity. The key idea is Synology Tiering: using SSD or NVMe systems for hot production data, while moving colder media to high-density storage without making editors manually reorganize every project. https://www.synology.com/
—
HDMI® Technology is the foundation for the worldwide ecosystem of HDMI-connected devices; integrated with displays, set-top boxes, laptops, audio video receivers and other product types. Because of this global usage, manufacturers, resellers, integrators and consumers must be assured that their HDMI® products work seamlessly together and deliver the best possible performance by sourcing products from licensed HDMI Adopters or authorized resellers. For HDMI Cables, consumers can look for the official HDMI® Cable Certification Labels on packaging. Innovation continues with the latest HDMI 2.2 Specification that supports higher 96Gbps bandwidth and next-gen HDMI Fixed Rate Link technology to provide optimal audio and video for a wide range of device applications. Higher resolutions and refresh rates are supported, including up to 12K@120 and 16K@60. Additionally, more high-quality options are supported, including uncompressed full chroma formats such as 8K@60/4:4:4 and 4K@240/4:4:4 at 10-bit and 12-bit color.
—
The demo connects systems such as the FS6400 all-flash array and HD6500 high-density storage, showing how 4K, 6K, and potentially 8K editing can sit on fast storage while older or less frequently used files move toward SAS hard drive capacity. The HD6500 platform is built around 60 bays in the main chassis and can scale with expansion units up to 300 drive bays and multi-petabyte archive capacity, making it relevant for facilities dealing with camera originals, mezzanine codecs, proxy workflows, backup sets, and long-term media.
Synology Tiering is not presented here as an AI-driven prediction system, but as a policy-based DSM workflow. Administrators can define rules based on last access time, last modified time, available capacity, and scheduled movement, allowing hot and cold tiers to behave more like one managed file-server environment. That matters for media teams because SSD capacity is expensive, while project libraries, renders, cache files, and archive footage tend to grow much faster than active edit storage budgets.
The video also touches on Synology’s PAS7700, the company’s active-active NVMe all-flash storage platform for tier-zero and tier-one workloads. With dual controllers, NVMe SSD architecture, high-speed networking options, and support for file and block workloads, it fits the same broader direction: fast shared storage for AI workloads, VDI, databases, and demanding video pipelines, paired with larger storage systems for retention and archive. Filmed at NAB 2026 Las Vegas, the booth demo shows live 10GbE editing from Synology storage rather than only describing the setup.
For creators, broadcasters, and post houses, the interesting part is not just raw throughput, but lifecycle management: ingest, active edit, shared project access, backup, archive, and recall. Synology is positioning its rackmount systems less as isolated NAS boxes and more as a layered storage environment, combining all-flash performance, SAS hard drive density, DSM management, firmware-controlled drive compatibility, and upcoming rackmount updates expected around Computex as part of the same enterprise roadmap.
