 We sort of went through the film to digital transition and file-based transition and cloud and especially, you know, camera to cloud was a natural progression of that. It actually sort of brought some definition and some some rules back into a very chaotic file-based world. Everybody had a lot of drives and they were shooting a lot of different formats and they'd be overall all over the place on drives and cloud actually brought organization back to that. So I think that was really our inspiration was how do you allow for all this flexibility but maintain some professional organization back into it. We're coming out of a 10-year cycle of an industry that's transitioning from physical film and tape to file-based. So the next logical progression is cloud-based. So the idea of camera to cloud in some quarters in our industry is kind of heresy because essentially what we're saying is you take the most valuable file, the highest resolution file and put that in the cloud. And we've been proposing that for years but it's been a non-starter because the industry is used to vaults and physical management of that precious thing from which all their revenue gets generated. And here we are saying put it in the cloud. So in the last two years in particular, the idea of that is actually socializing a lot better. So I remember when we first started saying camera to cloud you would get reactions like violent, you know, people are really upset with that idea like what the hell are you talking about? But now, especially because of the growth of OpenStack, it's not only being socialized, it's actually happening in real life and that's what the demo was about. The idea of the archive as a separate entity is slowly ending because what studios are starting to realize is that the concept of a living archive, something that starts in pre-production and production and then it carries all that media and it holds that media through distribution is actually a far better monetary model because they can have all this content available to distribute over IP anytime that anyone wants to buy it. So I think the idea of a sort of dead archive that's separate is coming to an end. I believe also that the Sony hack was actually a positive turning point and that studios realized that they didn't gain security by doing it themselves. They gained security by reaching out to communities such as OpenStack and having partnerships with companies that day in, day out do cloud, do management of cloud, do security on the cloud. So I think that was a big turning point for us in actually a positive direction. That this was inevitable and they really needed to seek out more competency than they had internally. The biggest challenge there if you even look at the Library of Congress is you have an industry that's premised on 100-year archive. So even though there might be the best technology in the world, they're thinking will that company be around in 25 years or are they going to be acquired by another company who we're going to be dealing with then. So their challenges kind of transcend technology. It's more social and political and they used to have control over it in a bonded vault and they knew exactly where it was and it transcended technological change. And there again the solution is OpenStack because you're not tied to an individual vendor. You're not tied into proprietary storage. You can run it privately. You can run it publicly. So you still have control over your archive and your cloud archive independent of another company that may not exist in 20 years. So it's standard right now for all shows, feature film and television worldwide to back up on an LTO tape. So that's how they manage their liability. What we're doing is doing that but we're also putting it in the cloud. And to me I reckon it's a heroin. Once you give them the ability to store everything and then say oh I'm going to take that away from you. They can't live anymore. So that's how we're basically getting everybody addicted is we're putting all their data in one location and that's it. Once you experience that it's kind of like having a Dropbox account for all of your camera negative. So it's been 100% acceptance because now you have access to your stuff. It's like a no brainer. But we're doing a practically show after show and once you experience it that's what changes the head. I believe you know for us looking forward into the future I mean I think we're going to ride this cloud wave for quite a long time and it'll sort of grow into other areas. Largely right now it's a storage conversation. It's an access conversation but we're already starting to see movement into compute infrastructure too and render on the cloud and all these different things that you can sort of store a mezzanine file format and distribute from that mezzanine file format and get whatever you need from that through compute services. So I think that's really the next step for us. With the software we built critique the idea is to take that from Hollywood and make it available for anyone who's doing video production. So it's basically taking those best practices this crazy thing where you know productions have to coordinate with hairdressers, set designers, DP sound and somehow all that chaos comes into a very polished program. We think that that type of behavior is going to transition to just humanity in general. Kind of like the YouTube generation of people that are going to start to behave ever more like Hollywood. So it's great to be in Hollywood but to actually transition our IP, our software and our services into the greater video world. That's what we see as our future and really the last 15 years we define as file based and we think the next 15 years and beyond are going to be cloud based. So for us it's just like a very natural wave that we're still writing.