March 2-4, 2015

The Entertainment Technology Center @ USC

NAB Virtual Conference

Distributed high-quality image

manipulation and review in a virtual

collaborative environment

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

Traditional Serial Production

Pre-Production

Production Post-

Production

Production

Post Production

and

Deliveries

New York Los Angeles New

Orleans London

Editorial VFX

Pre Production

Current Trend

Whenever Wherever

Some Challenges

Oversampling

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

• ?

Color

Source:

• Video

• Film

• Digital Cameras (various)

• CGI (various)

Delivery:

• Rec 709

• Dci (P3)

• Rec 2020

• Aces

• XYZ

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

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

• ???

Interoperability Challenges

File Formats

Increasing number

Some Source Formats

Camera

• Arri

• Red

• Sony

• Canon

• VariCam

• Cinema DNG

• Adobe DNG

• Cine

• Apple ProRes

Image

• DPX

• JPEG

• EXR

• TIFF

• JPEG

• JPEG2000

Some Delivery Formats

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]

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]

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

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]

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

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

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

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

Trend

More P ic tu re F ide l i t y

Pixel Count

Frame Rate Extended Color

Extended Dynamic Range

• Storage

• Bandwidth

• Interactivity

• Processing

Compression

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 w a 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

w o r k g r o u p s

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

Colorfront On-Set Live

On Set Dailies OSD & EXD

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

Miso Review

Copy Central

Interactive Platforms

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

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

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.)

Centralized Processing

The Heavy Lifting

OSD Transkoder Camera Original

VFX

Dailies OSD/EXD

Final Grade

Final Deliverables

Reviews

On-Set Color

COLORFRONT TRANSKODER 2014 Supports 8K

Industry-first, real-time 60FPS 8K (4320p) & S3D 4K (2160p)

system

HDR Wide Gamut

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

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

Remote Dailies

Remote Grading

Remote Review

Capture

Transcoding

Delivery

Transcoding

EFX

Transkoder in the Cloud Public and Private

Iterative

Look Design

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

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

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

Thank You

www.colorfront.com

bill@colorfront.com