Hydrolix Cloud Knowledge Platform Helps Arkose Labs Save Cash and Ship Actual-Time Insights on Hundreds of thousands of Fraud Assaults Day by day

PORTLAND, Ore .– () – Hydrolix today announced the immediate availability of a case study describing Arkose Labs’ migration to the Hydrolix cloud data platform. Arkose Labs’ fast-growing data challenges: The only thing that scaled faster than the company’s triple-digit customer revenue growth was the cost of collecting and analyzing terabytes of raw data per day. They needed an alternative to their existing platform that would improve their margins and future-proof their business.

“The data challenges at Arkose Labs fit our mission perfectly,” said Marty Kagan, CEO of Hydrolix. “They record billions of events every day, each with hundreds of fields of sparse and complex, semi-structured, high cardinality data. They take care of real-time recording, they take care of long-term storage, and they take care of the kind of sub-second interactive query performance that you can’t get with brute force scans of unindexed data. ”

Today, after migrating to Hydrolix and Superset, Arkose Labs’ Security Operations Center (SOC) identifies, investigates and remediates threats at a lower cost than their previous data platform, which is based on market-leading NoSQL and document databases. Additionally, the move to Hydrolix has enabled Arkose Labs to consolidate their data infrastructure by eliminating the need for separate hot, warm and cold tiers.

“Dealing with fraud in real time requires tremendous speed and flexibility. Hydrolix enables our team to process over 100 million events per second / per core, exceeding our performance and scale requirements, ”said Ashish Jain, chief product officer of Arkose Labs.

From a product perspective, a unified data platform with unlimited retention builds on the success of Arkose Labs and enables the product team to expand the company’s capabilities and deliver value to customers on a much broader scale with real-time dashboards, unlimited filters, and visibility offer range of time periods. Complex forensic queries are now completed in milliseconds.

“Running our own copy of Hydrolix in our VPC has allowed us to truly leverage the potential of Amazon’s elastic infrastructure by independently scaling our compute and storage tiers in our data management stack,” said Joe Hsy, CTO of Arkose Labs.

For companies that value data, the answer to skyrocketing costs should never be to store less data. To learn more about how Hydrolix can help your business, check out the Arkose Labs case study at today www.hydrolix.io/case-studies/.

About Hydrolix

Hydrolix is ​​transforming the economics of big data so that organizations can ingest, store, and query petabytes of data without impacting performance, discarding data, or struggling with costs. Hydrolix’s patented technology is delivered cloud-on-prem, with no maintenance or egress, so customers stay in control of their data, reduce security and compliance risks, and no longer have to spend money on other people’s cloud infrastructure. Hydrolix is ​​supported by Wing Ventures, AV8 Ventures, Silicon Valley Data Capital, and the Oregon Venture Fund.

For more information, see hydrolix.io, Email info@hydrolix.io, or follow us on Twitter @GetHydrolix.

About Arkose Labs

Arkose Labs is ruining the fraud business model. Recognized as Cyber ​​Defense Magazine’s 2021 “Hot Company in Fraud Prevention”, its innovative approach determines true user intent and resolves attacks in real time. Risk assessments combined with interactive authentication challenges undermine the ROI of attacks, provide long-term protection while improving good customer throughput. Arkose Labs is headquartered in San Francisco, California with offices in Brisbane, Australia and London, United Kingdom. For more information, visit www.arkoselabs.com or on Twitter @ArkoseLabs.

Stylists Ship Oscar Fashion By way of Priyanka Chopra, Leslie Odom Jr.

When Nick Jonas announced the Oscar nominations along with his wife, Priyanka Chopra Jonas, last month, shone in a gold silk Dolce & Gabbana tuxedo.

“The awards shows, especially the Oscars, feel like a long-awaited hug we’ve all been waiting for,” says his stylist Avo Yermagyan. “It’s a glimmer of what life was like before the world screeched to a halt. That’s why I wanted to be optimistic at that moment. “

The “sunny yellow” look was his proof that the world was coming back to life. “There is a sense of hope that we are all filled with,” says Yermagyan, who tried to reflect the severity of the pandemic at the start of virtual events.

“At first we were all very careful about the tone we were doing, so we were a bit more reluctant to choose jewelry, etc. But to make up for that, we also give people a bit of escape, beauty and lightness – the we all need. I think as the awards season goes on, people are opening up to taking bigger risks and making bolder swings. “
Yermagyan was looking to One Night in Miami when he donned Leslie Odom Jr. “I had the feeling that men were such changers in their day, so I didn’t want to play it safe when it came to styling,” he says.

For the globes, Odom combined a chocolate brown Valentino Haute Couture suit made of wool with a neon green turtleneck. “I tried to nod to the ’60s with the cuts and colors of the suit, but I still wanted to pack an unexpected punch with the basics and accessories.”

The Celine Homme striped suit and ruffled shirt that Odom wore to the Critics’ Choice Awards represented Yermagyan’s “subtle nod to ‘Hamilton’.

“It could have been a little too literal or costumed, so I put those chunky chain chains on it,” he says. “The necklaces made the look less polite and more punk.”
For the SAG Awards, Odom made his debut in a green and pink Berluti suit, which Yermagyan described on Instagram as a “watermelon amuse bouche”.

“All the rules for getting dressed on the red carpet are being rewritten,” says Yermagyan, who welcomes the ability to stage photos and control the narrative of his appearance. “After a year at home there is a new kind of creativity. We all – from the actors to the stylists – are all unleashed. “

Elizabeth Stewart, who styles Oscar nominees Viola Davis and Amanda Seyfried, also appreciates the new creative freedom.

“If you take the context of an actual red carpet and actually have to leave the house, anything goes,” she says. “It was fun to see people in pajamas or fabulous headwear.”

With Davis, Stewart took a “solemn and happy” approach. “If we’re going to have an awards season let’s do it in the best possible way, especially by supporting the fashion industry and designers who have been so hard hit by the pandemic,” says Stewart.

For the globes, Davis wore a brightly patterned Lavie by CK look, which was made from fabric by the Cameroonian designer Claude Kameni.

“Viola wanted a designer who specifically addressed her as a black woman. She wanted to rethink the glamor of the red carpet in the age of more diversity and inclusivity. “

Davis followed with a turquoise dress by Greta Constantine for the Critics’ Choice Awards, an upbeat floral Duro Olowu dress for the NAACP Image Awards, and an award-winning Louis Vuitton SAG Awards look with electric lime.

When dressing Seyfried, Stewart took her surroundings into account. “Amanda’s Globes look was influenced by the fact that she was in Savannah, Georgia,” says Stewart of the coral Oscar de la Renta gown. “We imagined the floral dress in this setting of cobblestone streets and moss trees.”

While staying true to Seyfried’s personal style, Stewart felt inspired by “the high bar of” Mank “costume design” “.

“It’s fun to think, ‘Would Marion Davies wear this if she were still alive today?'”

Film-inspired stylist Law Roach intended Anya Taylor-Joy’s shimmering green Globes dress as “a tiny nod to Anya’s character Beth from” The Queen’s Gambit “.”

“I wanted it to feel like it could have been one of her costumes,” says Roach of the retro cloak look that was custom designed by Dior. “When you think of glamor and sophistication, Dior is probably one of the first couturiers you think of.”

Taylor-Joy wore another berry-colored tulle Dior dress to the Critics’ Choice Awards, and Roach’s client Zendaya wore an orange-hot Valentino number.

“The gigantic ball skirt with this white tank top was just so modern and young and had a really cool girl’s vibe,” says Roach, who has styled the “Malcolm & Marie” star for 10 years and also designed costumes for the film.

Roach strives for “breathtaking moments”. For the SAG Awards he designed Kerry Washington in an Etro patterned dress with a matching cap and Aldis Hodge in a three-piece Dolce & Gabbana jacquard suit.

“It’s all about how I feel through the clothes, and I pass that emotion on to the customers,” he says.

Stylist Jason Bolden hopes his awards look with Cynthia Erivo uplift. “We really wanted to have fun and bring back some joy and imagination in the middle of everything we’ve been through,” he says.

When Bolden saw Valentino’s Spring 2021 couture collection with piercing hues and towering metal platforms, he thought, “This is a Cynthia collection.” He secured two dresses – a beaded hood design for her “A Grammy Salute” performance and their neon green futuristic globes look. Erivo thought the latter was “divine” – and immediately tried the shoes on and exclaimed: “They feel like sneakers!”

“It was the full view from the runway,” says Bolden. “It was fun, it was fantasy. It was now also a kind of ode to her to be a fairy in ‘Pinocchio’. “

For the Grammys, Bolden was inspired by Erivo’s role as Aretha Franklin in NatGeo’s “Genius”.

“What Aretha and Cynthia have in common is their love of fashion and that they are very open about how they want to do things and being very brave.

The Grammy-nominated star really wanted to dress up, so Bolden worked with Louis Vuitton on the “magical” showstopper made of gold and silver with sequins. “That was an ode to Aretha and this Nubian princess’s game too.”

With Yara Shahidi, Bolden is always looking for “the hardest to wear dress in a collection”. The embroidered Dior Couture look she wore to the Critics’ Choice Awards was the only option
they considered.

“It was super playful, it had that Cirque du Soleil vibe and it was also an ode to the fact that she was Tinkerbell,” he says. “Again, it all comes down to bringing a bit of calm into the chaos, which gives a little bit of imagination, and that’s exactly what this look was for Yara.”

Bolden believes that this season of the awards shows people are “taking fashion to the extreme”.

“Everyone is ready to celebrate themselves and have fun and sit in the chair and laugh with their glamorous teams,” says Bolden, who is looking forward to an iconic glamor at the Oscars.

“For me, I hope people really create this Hollywood moment – what we yearn for and that makes us excited and gives us hope and opportunity.”

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ESPN, Echo Leisure Energy By Pandemic Challenges To Ship 20th Winter X Video games

Despite the reduced schedule and less presence, ESPN will produce 17.5 hours of content

What should have been a historic X Games 20th anniversary celebration in Aspen this weekend is a toned-down affair with no spectators. Due to the pandemic, local ESPN and Echo Entertainment production has been scaled back, and the normally harsh X Games atmosphere with live concerts and festivals will instead be a largely virtual experience for fans. The mere fact that the X Games are even taking place in Aspen this weekend is a testament to the will and perseverance of ESPN’s dedicated X Games team.

ESPN and Echo deployed 24 manned cameras that will be repositioned to 55 camera positions throughout the competition.

“I couldn’t be more proud and grateful that we are here [in Aspen]and that pays homage to all of the teamwork, ”says Tim Reed, Vice President, X Games, ESPN. “The amount of work the operations and events teams put into developing our plan is just incredible. You have almost two events at the same time: one is the actual competition that we have been running for many years, but then you also have that health and safety component that has created a significant amount of work on a completely different layer. I am so proud of the team and the work they have done and we are all excited to be here. “

Despite a reduced schedule of events and a reduced on-site presence, ESPN will produce a lot of content: 17.5 hours of live content over three days on ESPN, ABC and ESPN2 (ESPN’s Facebook and Twitter will host live-stream competitions on Friday). as well as exclusive streaming content via @XGames social and XGames.com. ESPN created one too virtual X Fest experience for fans and has teamed up with Psyonix on one Rocket League Championship Series (RLCS) X Regional Event.

Smaller footprint with the same big show mentality

This year ESPN has again signed mobile units from Dome Production for X Games

ESPN and Echo have rolled out an A-Unit and a B-Unit – Dome Productions Silver and Unite Trucks – for all three X Games venues at Buttermilk Mountain. A third dome truck has been brought in to transport equipment, and long-term partner BSI has a mobile unit to manage RF operations.

The X Games team also decided to forego a host set this year after switching to a mobile host set in 2020.

“We don’t have a set this year, partly because of the security protocol and partly because the benefit of having a host set was having hosts Jack [Mitrani] Sit down with the athletes and get to know them and spend time with them. We felt that it would be difficult to deal with social distance, ”he says Echo Entertainment President Hugh Arian. “From a production point of view, we’re just delighted that the event is taking place this year. This is the world’s leading action sports event. The fact that we actually do it is the most important thing. “

In the ESPN production office tent on Buttermilk Mountain

In total, the ESPN and Echo deployed 24 manned cameras – including 11 Sony HDC-4300 and nine HDC-2400 – which were repositioned under 55 camera positions throughout the competition. ESPN has also brought back the CondorCam point-to-point antenna system and will deploy it on both the SlopeStyle and Big Air venues. In addition, BSI has four RF POV cameras: three FollowCams and one camera attached to a snowmobile, which brings the athletes to the top of the course after each run. BSI also distributed 18 RF microphones to the three venues.

Echo and its partners have laid 450,000 feet of ST single mode fiber and 20,000 feet of SMPTE fiber over the Buttermilk Mountain.

“The biggest change this year is obviously the COVID logs, which while slowing us down a bit, keep everyone safe, which is most important,” he says Pierce Williams, Echo Entertainment’s technical director. “Everything else is pretty much on par, just with a smaller footprint. We still have big numbers when it comes to technology and equipment. “

As with all ESPN shows, Aspen crew members must wear masks at all times.

ESPN has a detailed health and safety plan in Aspen and has requested all employees to take a negative COVID test both before traveling to Aspen and upon arrival on site. Frequent tests are performed on-site on a variable basis depending on a person’s role and the segmented group to which they are assigned. All offices and production facilities in Buttermilk Mountain have been equipped with suitable filter systems, and the on-site staff must distance themselves socially at all times, wear masks and maintain hand hygiene.

“We have all the critical components for our health and safety protocols,” says Reed. “A lot of details went into this topic and we worked on it for a long time with the best health and safety experts. It got us to this point and I think we are all fine with the protocols we have here. “

Jam session format, active viewing strategy Keep the show moving

All of the ESPN crew were positioned at least two meters apart in the truck, and numerous fiberglass separators were also installed.

ESPN brought back the popular “jam session” format this year, which allows for more live competition with less downtime between runs. In this format, multiple riders compete for a period of time, and the judges officially rate each competitor based on their overall impression (rather than waiting for the judges’ scores to be given for each athlete individually).

“We’re doing a lot of things again that we implemented last year in terms of production approach and competitive format,” says Arian. “The jam format is back, and every athlete gets a timer. So we don’t wait for results between runs. We implemented that here last winter. We thought it would make the event faster. We were all pretty happy with it. “

Despite a smaller footprint in Aspen, X Games production from ESPN and Echo Entertainment is still sizeable this year

Also back is the “Active Viewing” strategy from ESPN / Echo, which aims to accelerate the cadence of the broadcast by increasing the camera movement and using mobile cameras such as FollowCams and CondorCam as much as possible. The front bench will also cut cameras faster within the show, and the production team has been working on shortening athlete profiles and sponsorship spots so that they can be more easily incorporated into the show instead of crowd shots.

“As part of the active viewing last year, we not only made a lot of camera movement. We also cut a little faster, ”says Arian. “We’re going to try to make more of it this year because we don’t have a crowd to adjust to. You will see that we are also reducing more to short form content. “

Though operations in Aspen look very different on site, viewers can expect the same style and quality from X Games – a boon for action sports fans starving for content during the pandemic.

“Of course the sports world has been hit hard,” says Arian, “but I think action sports.” [have been hit] even harder than other sports because we don’t have the deep pockets that they do [major leagues] to have. It’s amazing to be here and get everyone back to work. “

X Games Aspen kicks off today at 2 p.m. ET with streaming on @XGames social and XGames.com, followed by coverage of ESPN2 starting tonight at 10:30 p.m. On Saturday and Sunday, reporting on ABC starts at 1 p.m.