Distributed high-quality image manipulation and review in a virtual collaborative environment By Bill Feightner of Colorfront
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The document details the NAB Virtual Conference hosted by the Entertainment Technology Center at USC, focusing on advanced image manipulation technologies for film and television production. It discusses challenges and innovations in color management, resolution delivery, and cloud-based collaboration tools designed to increase efficiency in modern production workflows. Key highlights include the evolution of processing power, interoperability of file formats, and the Colorfront engine's capabilities in enhancing creative control over the image pipeline.
![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]](https://image.slidesharecdn.com/4-distributedhigh-qualityimagemanipulationandreviewinavirtualcollaborativeenvironment-150427130441-conversion-gate02/85/Distributed-high-quality-image-manipulation-and-review-in-a-virtual-collaborative-environment-By-Bill-Feightner-of-Colorfront-17-320.jpg)
![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]](https://image.slidesharecdn.com/4-distributedhigh-qualityimagemanipulationandreviewinavirtualcollaborativeenvironment-150427130441-conversion-gate02/85/Distributed-high-quality-image-manipulation-and-review-in-a-virtual-collaborative-environment-By-Bill-Feightner-of-Colorfront-18-320.jpg)
![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](https://image.slidesharecdn.com/4-distributedhigh-qualityimagemanipulationandreviewinavirtualcollaborativeenvironment-150427130441-conversion-gate02/85/Distributed-high-quality-image-manipulation-and-review-in-a-virtual-collaborative-environment-By-Bill-Feightner-of-Colorfront-19-320.jpg)
![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]](https://image.slidesharecdn.com/4-distributedhigh-qualityimagemanipulationandreviewinavirtualcollaborativeenvironment-150427130441-conversion-gate02/85/Distributed-high-quality-image-manipulation-and-review-in-a-virtual-collaborative-environment-By-Bill-Feightner-of-Colorfront-20-320.jpg)
Distributed high-quality image manipulation and review in a virtual collaborative environment By Bill Feightner of Colorfront
- 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
- 6. Production Post Production and Deliveries New York Los Angeles New Orleans London Editorial VFX Pre Production Current Trend Whenever Wherever
- 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 • ???
- 15. Some Source Formats Camera • Arri • Red • Sony • Canon • VariCam • Cinema DNG • Adobe DNG • Cine • Apple ProRes Image • DPX • JPEG • EXR • TIFF • JPEG • JPEG2000
- 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
- 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
- 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