Taking advantage of centralized processing and storage, new dispersed workflows are now possible. Colorfront's cloud initiative enables virtual world wide collaboration for high end motion picture and television production.

2. March 2-4, 2015
The Entertainment Technology Center @ USC
NAB Virtual Conference

3. Distributed high-quality image
manipulation and review in a virtual
collaborative environment

4. Agenda
• By taking advantage of centralized processing and storage, new
dispersed workflows are now possible.
• Colorfront's cloud initiative enables virtual world wide
collaboration for high end motion picture and television
production.
• The new production: The Great Merger
• Whatever Whenever Wherever
• Specific Challenges
• Maintaining the Look from Capture to Finish to Delivery

5. Traditional Serial Production
Pre-
Production
Production
Post-
Production

6. Production
Post
Production
and
Deliveries
New York Los Angeles
New
Orleans
London
Editorial VFX
Pre
Production
Current Trend
Whenever Wherever

7. Some Challenges

8. Oversampling

9. Temporal
Source:
• 24 fps
• 30 fps
• 48 fps
• 60 fps
• 90 fps
• 120 fps
• ?
Delivery:
• 24 fps
• 30 fps
• 48 fps
• 60 fps
• 120 fps
• ?

10. Color
Source:
• Video
• Film
• Digital Cameras (various)
• CGI (various)
Delivery:
• Rec 709
• Dci (P3)
• Rec 2020
• Aces
• XYZ

11. Dynamic Range
Source:
• Video
• Film
• Digital Cameras (various)
• CGI (various)
Delivery:
• 48 Nit Dark Room Cinema
• HDR Cinema (various)
• 100 Nit Home Dim Surround
• HDR 600 to 2000 Nit
• Prototype 4000 Nit

12. Spatial
Source:
• 720 pixel
• 1920 pixel
• 2048 pixel
• 2880 pixel
• 3640 pixel
• 4096 pixel
• 5.5 K
• 6 K
• 6.5 K
Delivery:
• Standard Definition
• High Definition
• Ultra HD
• Ultra Wide UHD (5K +)
• 4 K
• 8k Super High Vision
• ???

13. Interoperability Challenges

14. File Formats
Increasing number

15. Some Source Formats
Camera
• Arri
• Red
• Sony
• Canon
• VariCam
• Cinema DNG
• Adobe DNG
• Cine
• Apple ProRes
Image
• DPX
• JPEG
• EXR
• TIFF
• JPEG
• JPEG2000

16. Some Delivery Formats

17. Standard File Formats
DPX [8bit]
DPX [10bit]
DPX [16bit]
JPEG
EXR [16 bit half]
TIFF [8bit]
TIFF [16bit]
JPEG
JPEG2000 Lossless [Various]
JPEG2000 Lossy [Various]

18. IMF Formats
YUV HD Lossless MFX [IMF 1920x1080
YUV HD Lossy MFX [IMF 1920x1080
YUV QHD Lossless MFX [IMF 3840x2160]
YUV QHD Lossy MFX [IMF 3840x2160]
RGB HD Lossless MXF [IMF 1920x1080]
RGB HD Lossy MXF [IMF 1920x1080]
RGB QHD Lossless MFX [IMF 3840x2160]
RGB QHD Lossy MFX [IMF 3840x2160]
FOX HD Lossless MXF [IMF 1920x1080]
FOX QHD Lossless MFX [IMF 3840x2160]
Sony HD Lossy MFX [IMF 1920x1080
Sony QHD Lossy MFX [IMF 3840x2160]
Sony QHD Lossy MFX [IMF 3840x2160]
Netflix QHD Lossy MFX [IMF 3840x2160]
ARD HD Lossless MXF [IMF 1920x1080]

19. DCP Formats
2K DCP Scope [DCP 2048x858 ]
2K DCP Flat [DCP 1998x1080]
2K DCP Full [DCP 2048x1080]
4K DCP Scope [DCP 4096x1716]
4K DCP Flat [DCP 3996x2160]
4K DCP Full [DCP 4096x2160]
Audio MFX [DCP Audio]
Near Future:
250 mb or 500?
Proposed wider color gamuts
Proposed HDR

20. MFX Formats
YUV HD Lossless MFX [AS02 1920x1080]
YUV HD Lossy MFX [AS02 1920x1080]
YUV QHD Lossless MFX [AS02 3840x2160]
YUV QHD Lossy MFX [AS02 3840x2160]
RGB HD Lossless MFX [AS02 1920x1080]
RGB HD Lossy MFX [AS02 1920x1080]
RGB QHD Lossless MFX [AS02 3840x2160]
RGB QHD Lossy MFX [AS02 3840x2160]

21. Image and Color Spaces
Ever-growing
• Many productions mix and match depending on the source and delivery requirements
• This is very inefficient
• It used to much simpler

22. Today‟s World
• LogC
• Slog, Slog2, Slog3, Sgamut, Sgamut3, Sgamut3.cine
• Red Log, Red Color (1,2,3), Dragon Color, Red Space, Red Gamma (1,2,3), Red Log Film
• Canon Log
• V-Log
• Aces: Linear, CC, CG, Proxy, ADX
• Film Log, StatusM Log, Pure Log
Many more on their way!
Some Source Color Spaces

23. Today‟s World
• LogC
• Slog, Slog2, Slog3, Sgamut, Sgamut3, Sgamut3.cine
• Red Log, Red Color (1,2,3), Dragon Color, Red Space, Red Gamma (1,2,3), Red Log Film
• Canon Log
• Aces, Linear, Aces, Log Aces
• Film Log, StatusM Log, Pure Log
• Rec 709
• P3, P3-D60, P3- D65
• XYX
• Linear
Some Working Color Spaces

24. Today‟s World
• Film Log, StatusM Log, Pure Log
• Rec 709
• sRGB
• Rec 2020
• P3, P3-D60, P3- D65
• XYX, Dci XYZ
• Aces, Linear, Aces, Log Aces
• Linear
• PQ Curve
• New Extended Color
• New High Dynamic Range
Some Delivery Color Spaces

25. Trend
More Picture Fidelity
Pixel Count
Frame RateExtended Color
Extended Dynamic Range
• Storage
• Bandwidth
• Interactivity
• Processing
Compression

26. Challenges
• Increasing number of source and delivery formats
• Maintaining image consistency (image management)
• Having enough processing power and bandwidth for “real-time” interactivity
• Tools able to handle todays wide range high fidelity images
• Specialized tools dedicated to specific image issues
• Plug and play simplicity
• Whatever Wherever Whenever
• Globally dispersed virtual workgroups
• S o f t wa r e d e s i g n e d t o s u p p o r t a n d t a k e a d v a n t a g e o f
c e n t r a l i z e d p r o c e s s i n g a n d s t o r a g e a c r o s s b r o a d v i r t u a l
wo r k g r o u p s

27. The Colorfront Collaborative Environment
• On-Set Dailies
• Express Dailies
• On-Set Color Look Design Tool
• On-Set Live
• Miso Review
• Copy Central
• OSD Transkoder
• Colorfront Cloud
• Colorfront Engine

28. Colorfront On-Set Live

29. On Set Dailies
OSD & EXD

30. On-Set Color
• Tool to create looks, based on Colorfront toolset
• Graded stills from location scouting apply to Alexa, F55, C500, etc.
• IDTs for the key still cameras, from: Nikon, Canon, Sony A7, and iPhone

31. Miso
Review

32. Copy Central

33. Interactive Platforms

34. Platform
Mac Pro
• Express Dailies 2014, OSD 2014, Transkoder 2014
• Also supporting ExD 2013!
• Single 12-core Xeon CPU, higher memory bandwidth
• Dual AMD FirePro D700 GPUs (OpenCL, render in background)
• Connect 4K Displays
• Thunderbolt2 connectors

35. Platform
27” iMac Retina 5K
• Express Dailies 2014, OSD 2014
• Single intel i7 3.5GHz Quad-core CPU
• NVIDIA GeForce GTX 780M 4GB memory
• Thunderbolt2 connectors

36. Platform
Retina MacBook Pro
• Express Dailies 2014, OSD 2014, Transkoder 2014
• NVIDIA GeForce GT 750M GPU with 2GB memory
• AJA Io 4K, Io XT and T-tap video output
• Thunderbolt expansion chassis (Magma, Sonnet , etc.)

37. Centralized Processing
The Heavy Lifting

38. OSD Transkoder
Camera
Original
VFX
Dailies
OSD/EXD
Final Grade
Final
Deliverables
Reviews
On-Set Color

39. COLORFRONT TRANSKODER 2014 Supports 8K
Industry-first, real-time 60FPS 8K (4320p) & S3D 4K (2160p)
system
HDR Wide Gamut

40. Platform
Supermicro „Super Workstation‟
• SuperMicro Quad-GPU Super Workstation
• ultimate performance for Transkoder, also for OSD 2014
• Dual 12-core Intel Xeon CPUs
• NVIDIA 3x Titan Black plus Quadro K6000
• AJA Kona4 (QuadHD and 4K at up to 60p)
• 32GB RAM minimum required, 64-bit application

41. Platform
HP Z840 workstation
• On-Set Dailies and Transkoder 2014
• Dual 12-core or 14-core Intel Xeon CPUs
• Dual NVIDIA GeForce Titan plus Quadro K4200
• AJA Kona4 (QuadHD and 4K at up to 60p)
• 32GB RAM minimum required, 64-bit application

42. Remote Dailies
Remote Grading
Remote Review
Capture
Transcoding
Delivery
Transcoding
EFX
Transkoder in the Cloud
Public and Private
Iterative
Look Design

43. Transkoder in the Cloud
On Amazon
•Available on-demand by the hour
•Amazon EC2 GPU Instances - g2.2xlarge node
•Available world-wide - US West (Northern California), US East, Ireland and Tokyo.
•Eight vCPUs provide local workstation-like performance for encoding
•High-performance NVIDIA GPU with 1,536 CUDA cores and 4GB of video memory
•Works with cloud storage - encode media to and from Amazon S3
•AWS infrastructure is compliant with all applicable MPAA infrastructure controls
Transkoder works with S3 cloud storage and runs on
GPU enabled nodes on Amazon Web Services

44. The Colorfront Engine
Highlights
• Common to all Colorfront applications
• A state-of-the art, automatically managed, ACES-compliant color pipeline which brings plug and play
simplicity to today‟s complex production requirements.
• Enables unlimited look creation and ensures its integrity from on-set to the finished product.
• 32 Bit floating point image pipeline
• True plug and play. Wakes up with a great looking base picture without user intervention no matter
what the source is. The focus is now on the creative side, making the look that is right for the story.
• Look creation, color integrity and the safe management of vital metadata are insured throughout the
workgroups
• Image analysis toolkit
• Built in Display calibration and checks

45. Automatic
Input
Transforms
Scene Referred Creative Color
Adjustments Corrections
Look Library™
Output
Transforms
Image Adjustments
Common Color Work Space
Arri Raw
Arri LogC
Sony Raw
Sony sLogs
Red
Cannon Raw
Aces
Rec 709
Rec 2020
XYZ
P3
BlackMagic
Aaton
Phantom
Indiecam
ETC.
DciXYZ
XYZ
Aces
P3
Rec 709
Rec 2020
HDR
Adobe
ETC.
Colorfront Engine
Image Management
Aces Based Automated Color Management
IDT LMT RRT ODT

46. Thank You
www.colorfront.com
bill@colorfront.com