New Workflows in Digital Cinema
                  and Post Production

 IDIFF
30/1 - 1/2
  2008,
  Paris
                 ...
HISTORY
FILM - 100+ YEARS
•   Static process
•   Until 2000



VIDEO - 60+ YEARS
•  Rapid technological
   advances
2 majo...
TRENDS
Video
Digital changes
• Acquisition and Storage
• Transmission
• Consumption




Film
•   Manual until 2000
•   Vis...
CONVERGENCE
Film and Video appear to
   be converging:
•   Acquisition
•   Editorial
•   Special Effects
•   Grading
•   D...
CHANGING WORKFLOW
• Manufacturers can’t specify how users will
  work
• No one single workflow
• Fragmentation of processe...
MODERN ISSUES
Image Data
•   Resolution, Bit depth, Format, Frame
    rate, Colourspace, Encoding, Encryption


Metadata
•...
SYSTEMS APPROACH

Moore’s Law doesn’t hold

System limitations:
•   Processing power
•   Disk I/O speed
•   Disk capacity
...
FILMLIGHT SOLUTION




      Baselight
RESULT
• Scalable hw and sw
  solution
• Instant response
• Distributed I/O,
  processing and
  visualisation
• Industry s...
EVOLVING ISSUES

Interoperability:
• Inter-machine connectivity/network
• Proprietary filesystem
• Video ingest/playout
• ...
ENHANCED SOLUTIONS
• I/O / SAN Node
• Virtual Filesystem
• 10GigaBit Ethernet Fabric
INTERCHANGE STANDARDS
Using standards for data description and
 exchange:
Filesystems
• XFS, NFS, ADIC CXFS
Image Formats
...
OEM INTEGRATION
SANS
•   DVS SAN
•   DVS Spycer
•   Avid Unity
Editorial
•   Avid editors
•   Apple Final Cut Pro
Commerci...
AVID - BASELIGHT
Editorial Workflow




                AAF Sequence




                     MXF Images
SPIRIT - BASELIGHT
Commercials workflow

                HD SDI Video




      Control
TRUELIGHT
Truelight Colour Management
SUMMARY
FilmLight’s Baselight architecture:
•   Modern
•   Scalable
•   Distributed
•   Data-centric
•   Standard Complian...
FINALLY

Thanks to:
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iDiff 2008 conference #02 IP-Racine Filmlight seminar

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iDiff 2008 conference #02 IP-Racine Filmlight seminar

  1. 1. New Workflows in Digital Cinema and Post Production IDIFF 30/1 - 1/2 2008, Paris David Stroud FilmLight FilmLight Ltd
  2. 2. HISTORY FILM - 100+ YEARS • Static process • Until 2000 VIDEO - 60+ YEARS • Rapid technological advances 2 major changes: • Analogue to digital • Non-linear
  3. 3. TRENDS Video Digital changes • Acquisition and Storage • Transmission • Consumption Film • Manual until 2000 • Visual effects and first D.I. • Digital manipulation and storage • Acquisition • Delivery/Consumption
  4. 4. CONVERGENCE Film and Video appear to be converging: • Acquisition • Editorial • Special Effects • Grading • Delivery Data-centric workflows are evolving Images and sequences treated as: • Digital image data • Metadata essence
  5. 5. CHANGING WORKFLOW • Manufacturers can’t specify how users will work • No one single workflow • Fragmentation of processes • Increased speed, quality and complexity - with reduced cost Workflow equation COST QUALITY/PERFORMANCE
  6. 6. MODERN ISSUES Image Data • Resolution, Bit depth, Format, Frame rate, Colourspace, Encoding, Encryption Metadata • Format, Interpretation, maintenance, addition, interchange Data Handling • Speed, transport mechanism Data Management • Changes, Versioning, Metadata, Archival Cost/Performance • Balancing the equation
  7. 7. SYSTEMS APPROACH Moore’s Law doesn’t hold System limitations: • Processing power • Disk I/O speed • Disk capacity • Data integrity • Graphics visualisation
  8. 8. FILMLIGHT SOLUTION Baselight
  9. 9. RESULT • Scalable hw and sw solution • Instant response • Distributed I/O, processing and visualisation • Industry standard components • Upgradeable
  10. 10. EVOLVING ISSUES Interoperability: • Inter-machine connectivity/network • Proprietary filesystem • Video ingest/playout • Physical interoperability • Standards for data interchange
  11. 11. ENHANCED SOLUTIONS • I/O / SAN Node • Virtual Filesystem • 10GigaBit Ethernet Fabric
  12. 12. INTERCHANGE STANDARDS Using standards for data description and exchange: Filesystems • XFS, NFS, ADIC CXFS Image Formats • Sequence - DPX, Tiff, Targa, Jpeg, YUV, RGB etc • Stream - QuickTime, MXF etc. Metadata • CDL, CMX3600, AAF, XML, Timecode, Keycode etc. Colour • Standard colour spaces - YUV, RGB, LAB, DCI XYZ
  13. 13. OEM INTEGRATION SANS • DVS SAN • DVS Spycer • Avid Unity Editorial • Avid editors • Apple Final Cut Pro Commercials • Grass Valley Spirit Telecine Visualisation • Truelight calibration of output devices • Barco DLP projectors • Sony SXRD 4K projectors
  14. 14. AVID - BASELIGHT Editorial Workflow AAF Sequence MXF Images
  15. 15. SPIRIT - BASELIGHT Commercials workflow HD SDI Video Control
  16. 16. TRUELIGHT Truelight Colour Management
  17. 17. SUMMARY FilmLight’s Baselight architecture: • Modern • Scalable • Distributed • Data-centric • Standard Compliant • Adaptable • Upgradable
  18. 18. FINALLY Thanks to:

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