Moderator: Steve Poehlein, HP

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12 Δεκ 2013 (πριν από 3 χρόνια και 6 μήνες)

152 εμφανίσεις

HOLLYWOOD IN THE
CLOUD

What is it? Where is it? Should we use it?

HPA Tech Retreat

February 17, 2011


Consumers are driving change, and the industry is responding

2


Consumers want to


Control when, where, and how content is consumed


Participate in creation of content


Interact socially


View HD, 3D, and rich media

on 3 screens


And the media industry is responding by


Creating original content in digital form


Accelerating transition to HD and 3D


Looking to new media for additional revenue streams


Utilizing new distribution channels that undercut existing models


Acquiring or owning content management environments


Finding new methods for interaction with content


Reaching a level where all consumption is digital

Today’s media landscape


Media management and
delivery from cloud
(Hula, Netflix, etc.)


Wireless broadband IPTV
(
WiMAX
, LTE)


P2P
-
enabled CDN, SIP

for IPTV Signaling, VOD

via RTSP

Network
-
based
services


TV sets (home networks,
UPnP
-
embedded IPTV
clients)


HD whole
-
home DVRs


Media center TVs (software
plug
-
ins)

Integrated IP
-
based
TV devices

Media is moving to the network edge

3

More network
-
centric

More device
-
centric


Set
-
top boxes


Whole
-
home DVRs


Place
-
shifting devices
(
SlingBox
, HAVA)


Hybrid content feed


DVD,
Blu
-
ray


“All
-
in
-
one” devices &

Packaged Media

Current Media Trends

Changing operational and business models

4


Operational needs


Changes in production processes


More storage and compute services


More flexible digital distribution systems


Better understanding of customer across all business units


Increased use of business intelligence



Business needs


New methods to monetize assets


Lowered operating costs


Better use of available capital



Challenges in the new media landscape

Relatively short history…

5

Footer goes here


1990
-

The Rescuers Down Under


First feature
-
length film to be entirely recorded to film from digital files; in this case animation assembled on computers usin
g Walt
Disney Corporation and Pixar's CAPS system.


1993
-

Snow White and the Seven Dwarfs


First film to be entirely scanned to digital files, manipulated, and recorded back to film. The restoration project was done
ent
irely at
4K resolution and 10
-
bit color depth using the new
Cineon

system to digitally remove dirt and scratches and restore faded colors.


1998
-

Pleasantville


The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black
-
and
-
white meets colo
r
world portrayed in the movie was filmed entirely in color and selectively
desaturated

and contrast adjusted digitally. The work was
done in Los Angeles by
Cinesite

utilizing a Spirit
DataCine

for scanning at 2K resolution.


2000
-

O Brother, Where Art Thou?


The first time a digital intermediate was used on the entirety of a first
-
run Hollywood film which otherwise had very few visual

effects. The work was done in Los Angeles by
Cinesite

utilizing a Spirit
DataCine

for scanning at 2K resolution, a Pandora
MegaDef

to adjust the color and a Kodak Lightning II recorder to output to film.[4]


2004
-

Spider
-
Man 2


The first digital intermediate on a new Hollywood film to be done entirely at 4K resolution. Although scanning, recording, an
d c
olor
-
correction was done at
4K by
EFilm
, most of the visual effects were created at 2K and were
upscaled

to 4K.

Transition from Film to Digital

Format

Creator

Est.

First Known Work

Negative Gauge

Aspect Ratio

Chronophotographe

Etienne
-
Jules
Marey


1888

motion analysis studies

90 mm

1

Paperfilm

Louis Le Prince

1888

Roundhay Garden Scene

54 mm or 63.5
mm

1

Theatre Optique

Emile Reynaud

1888

Pauvre Pierrot

Chronophotographic

Wm. Friese
-
Greene

1889

54 mm

Kinesigraph

Wordsworth Donisthorpe

1889

view of Trafalgar Square

68 mm

1.00?

Kinetoscope cylinder

Wm. Dickson & T. Edison

1889 or
1890

Monkeyshines, No. 1

cylinder strip

Kinetoscope horizontal

Wm. Dickson & William Heise

1891

Dickson Greeting

19 mm

Silent film standard

Wm. Dickson & T. Edison

1892

Blacksmith Scene

35 mm

1.33

Bioskop

Max
Skladanowsky


1892

footage of Emil Skladanowsky

54 mm

Acres 70

Birt Acres

1894

The Henley Royal Regatta of
1894

70 mm

1.38

Eidoloscope

Woodville Latham

1895

Griffo
-
Barnett Prize Fight

51 mm

1.85

Cinematographe


Lumiere Brothers

1895

La Sortie des Usines Lumiere

35 mm

1.33

Biograph

Herman Casler

1895

Sparring Contest at Canastota

68 mm

1.35

Joly
-
Normandin


Henri Joly

1895

60 mm

Biographe


Demeny
-
Gaumont

1896

60 mm

1.4

Chronophotographe


Demeny
-
Gaumont

1896

60 mm

1.4

Sivan
-
Dalphin


Casimir Sivan and E. Dalphin

1896

38 mm

Veriscope


Enoch Rector

1897

Corbett
-
Fitzsimmons fight

63 mm

1.66

Viventoscope


Thomas Henry Blair

1897

48 mm

1.5

Birtac


Birt Acres

1898

unknown (amateur format)

17.5 mm

Biokam


T. C. Hepworth

1899

unknown (amateur format)

17.5 mm

1.6

Prestwich

13 mm

John Alfred Prestwich

1899

unknown (amateur format)

13 mm

Mirograph


Reulos, Goudeau & Co

1900

unknown (amateur format)

21 mm

Lumiere

Wide

Lumiere Brothers

1900

75 mm

1.33

Cineorama


R. Grimoin
-
Sanson

1900

Cineorama

70 mm x 10
cameras

La Petite (Hughes)

W.C. Hughes

1900

unknown (amateur format)

17.5 mm

1.6

Pocket
Chrono


Gaumont Demeny

1900

unknown (amateur format)

15 mm

Vitak


William Wardell

1902

unknown (amateur format)

no standard

no standard

Home
Kinetoscope


Edison

1912

unknown (amateur format)

no standard

no standard

Pathe

Kok


Pathé

1912

unknown (amateur format)

28 mm

1.36

Duoscope


Alexander F. Victor

1912

unknown (amateur format)

17.5 mm

Panoramico

Filoteo Alberini

1914

Il sacco di Roma

70 mm

2.52

Split Duplex

Duplex Corporation

1915

35 mm

1.33

11 mm

(American)

1916

unknown (amateur format)

11 mm

Movette


Movette Camera Company

1917

unknown (amateur format)

17.5 mm

28 mm safety standard

Alexander Victor

1918

unknown (amateur format)

28 mm

1.36

Clou


(Austrian)

1920

unknown (amateur format)

17.5 mm

26 mm

(French)

1920

unknown (amateur format)

26 mm

9.5 mm

Pathé

1922

unknown (amateur format)

9.5 mm

1.31

Phonofilm


Lee De Forest

1922

Barking Dog, Flying Jenny
Airplane

35 mm

1.33

Widescope

John D. Elms & George W.
Bingham

1922

35 mm x 2

0.980" x
0.735"

Cinebloc


Ozaphan

1922

unknown (amateur format)

22 mm

Tri
-
Ergon

soundfilm

Tri
-
Ergon

1922

35 mm

1.33

16 mm

Eastman Kodak

1923

unknown (amateur format)

16 mm

1.37

Duplex

G.J. Bradley

1923

unknown (amateur format)

11 mm

Alberini
-
Hill

Corrado Cerqua

1924

35 mm

1.66

Cinelux


Ozaphan

1924

unknown (amateur format)

24 mm

48 mm

J.H. Powrie

1924

48 mm

1.32

Natural Vision

George K. Spoor & P. John
Berggren

1925

Niagara Falls and
Rollercoaster Ride

63.5 mm

1.84

13 mm

(French)

1925

unknown (amateur format)

13 mm

18 mm

(Russian)

1925

unknown (amateur format)

18 mm

Pathe

Rural

Pathé

1926

unknown (amateur format)

17.5 mm

1.35

Widevision

John D. Elms & George W.
Bingham

1926

Natural Vision Pictures

57 mm

Magnascope

Lorenzo del Riccio

1926

Old Ironsides

35 mm

1.33

Fox
Movietone


F. H. Owens, T. Case, Tri
-
Ergon

1927

Sunrise

35 mm

1.33

Polyvision

Abel Gance

1927

Napoléon

35 mm x 3
cameras

1.33 x 3
negs

Hypergonar


Henri Chretien

1927

Pour construire un feu

35 mm

2.66

Magnafilm

Lorenzo del Riccio

1929

You're in the Army Now

56 mm

2.19

Fox Grandeur

Fox Film Corporation

1929

Fox Grandeur News
Movietone Follies of 1929

70 mm

2.07

Fearless Super Pictures

Ralph G. Fear

1929

35 mm

2.27

Fearless Super
-
Film /
Magnifilm

/ Fox
Vitascope

Ralph G. Fear

1930

Kismet

65 mm

2

Realife

MGM

1930

Billy the Kid

70 mm

2.07

50 mm

Fox Film Corporation & SMPE

1930

50 mm

1.8

17 mm sound

(French)

1930

unknown (amateur format)

17 mm

Giant Expanding Pictures

George Palmer

1930

35 mm

1.33

Kodel

Kemco

Homovie


Clarence Ogden

1931

unknown (amateur format)

16 mm

Academy format

AMPAS

1932

35 mm

1.37

8 mm

Eastman Kodak

1932

unknown (amateur format)

16 mm

1.32

Straight 8

Bell and Howell

1935

unknown (amateur format)

8 mm

1.32

Vitarama


Fred Waller

1939

16 mm x 11
cameras

1.37 x 11
negs

Waller Flexible Gunnery Trainer

Fred Waller

1943

US Air Force training exercise

35 mm x 5
cameras

1.37 x 5
negs

Cinerama

Fred Waller

1952

This is Cinerama

35 mm x 3
cameras

2.59 (3 x
negs)

Matted 1.66

Paramount

1953

Shane

35 mm

1.37

Matted 1.85

Universal

1953

Thunder Bay

35 mm

1.37

Matted 1.75

MGM

1953

Arena

35 mm

1.37

Cinemascope

20th Century Fox

1953

The Robe

35 mm

2.55 & 2.37

Arnoldscope

John Arnold

1953

35 mm

VistaVision

Paramount

1954

White Christmas

35 mm

1.51

VistaVision

Large Area

Paramount

1954

White Christmas

35 mm

1.51

Superscope

Tushinsky Brothers

1954

Vera Cruz

35 mm

1.33

Circarama

Disney

1955

A Tour of the West

16 mm x 11
cameras

1.37 x 11
negs

Todd A.O.

Michael Todd

1955

Oklahoma

65 mm

2.29

Cinemascope 55

20th Century Fox

1955

Carousel

55 mm

2.55

9.5 Duplex

Pathé Fréres

1955


?

9.5 mm

1.51

8 mm Panoramic

Dimaphot, Paris

1955


?

16 mm

1.5

Emel

Panoscope

Emel, Paris

1955


?

16 mm

2.7

Technirama

Technicolor

1956

The Monte Carlo Story

35 mm

2.26

Technirama

Large Area

Technicolor

1956

The Monte Carlo Story

35 mm

2.26

Dynamic Frame

Glenn Alvey

1956

The Door in the Wall

35 mm

1.3, 1.6, &
2.5

Superscope

235

Superscope Inc.

1956

Run for the Sun

35 mm

1.33

Thrillarama

Albert H. Reynolds

1956

Thrillarama Adventure

35 mm x 2
cameras

1.78 x 2
negs

Magirama

Abel Gance

1956

Magirama

35 mm x 3
cameras

1.33 x 3
negs

MGM Camera 65

Panavision

1957

Raintree County

65 mm

2.93

Ultra Panavision

Panavision

1962

Mutiny on the Bounty

65 mm

2.76

Cinestage

Mike Todd

1957

Around the World in 80 Days

65 mm

2.29

Rank
VistaVision


J. Arthur Rank Organization

1957

35 mm

1.51

Modern anamorphic

Panavision

1958

The Female Animal

35 mm

2.37

Kinopanorama

NIKFI

1958

Great Is My Country

35 mm x 3
cameras

0.91 x 3
negs

70 mm

American Optical Company

1958

South Pacific

65 mm

2.28

Cinemiracle

National Theatres

1958

Windjammer

35 mm x 3
cameras

0.89 x 3
negs

Super
Technirama

Technicolor

1959

Sleeping Beauty

35 mm

2.26

Smith
-
Carney System

Rowe E. Carney Jr. and Tom F.
Smith

1959

Missouri travelogue

35 mm

4.69

Circular
Kinopanorama

/
Circlorama

E. Goldovsky

1959

The Path of Spring

35 mm x 11
cameras

1.37 x 11
negs

Varioscope

Jan Jacobsen

1959

Flying Clipper

65 mm

2.28

Quadravision

Ford Motor Company

1959

Design for Suburban Living


? mm x 4 cameras


? x 4 negs

Techniscope

Technicolor

1960

The Pharaoh's Woman

35 mm

2.33

Wonderama

(Arc 120)

Leon W. Wells

1960

Honeymoon

no standard

no standard

Cine System 3

Eric Berndt

1960

USAF and NASA usage

3 mm

Grandeur 70

20th Century Fox

1961

The King and I (re
-
release)

55 mm

2.55

Cinerama 360

Cinerama Corporation

1962

Journey to the Stars

65 mm

1.00 (circle)

Super 8

Eastman Kodak

1965

unknown (amateur format)

8 mm

1.48

Real Sound

Kenner

1965

no standard

no standard

Double Super 8

Eastman Kodak

1965

unknown (amateur format)

16 mm

1.48

Single
-
8

Fujifilm

1966

unknown (amateur format)

8 mm

1.36

Dimension 150

American Optical Company

1966

The Bible: In the Beginning

65 mm

2.28

Circle Vision 360

Disney

1967

America the Beautiful

35 mm x 9
cameras

1.37 x 9
negs

8.75 mm

Shanghai Film
Projection

1968

unknown (amateur format)

Astrovision

Goto Optical

1969

65 mm

IMAX

IMAX Corporation

1970

Tiger Child

70 mm

1.34

Super 16 mm film

Rune Ericson

1970

Blushing Charlie

16 mm

1.66

Pik
-
a
-
Movie

Leon W. Wells

1972

no standard

no standard

OMNIMAX

IMAX Corporation

1973

Garden Isle

70 mm

1.34

8/70 (
Dynavision
,
Iwerks

870)

Dynavision

1973?

65 mm

1.37

Showscan

Douglas Trumbull

1978

Night of Dreams

65 mm

2.28

Polavision

Polaroid Corporation

1978

unknown (amateur format)

8 mm

1.48

Cinema 180

Omni Films

1979

Crazy Wheels

65 mm

2.28

Super 35

Joe Dunton

1982

Dance Craze

35 mm

1.33

Circle Vision 200

Disney

1982

Impressions de France

35 mm x 5
cameras

1.37 x 5
negs

Swissorama

360 / Imagine 360

Ernst A. Heiniger

1984

Impressions of Switzerland

65 mm

360
°


Super Duper 8 / Max 8 / Super 8B

Mitch Perkins & Greg Miller

mid
-
1980s

Sleep Always (2002)

8 mm

1.51

3
-
perf

Rune Ericson

1987

Pirates of the Lake

35 mm

1.79

Super
VistaVision

Paramount

1989

The Ten Commandments

35 mm

1.51

Kinoton

HDFS

Kinoton

1990

no standard

no standard

IMAX Magic Carpet

IMAX Corporation

1990

Flowers in the Sky

70 mm x 2
cameras

1.34

Iwerksphere

Iwerks

1991

65 mm

1.37

IMAX HD

IMAX Corporation

1992

Asteroid Adventure

70 mm

1.34

Hexiplex

(Australian)

1992

Expo '92 demo

35 mm x 6
cameras

1.37 x 6
negs

Ultra
Toruscope

Mac McCarney

1992

35 mm x 3
cameras

1.37 x 3
negs

Imagination FX 7012

Geo
-
Odyssey

1992

35 mm

2.08

Univisium

Vittorio Storaro

1998

Tango

35 mm

2

Maxivision

Dean Goodhill

1999

35 mm

1.79

Maxivision

48

Dean Goodhill

1999

35 mm

1.79

Super Dimension 70

Robert Weisgerber

1999

65 mm

2.28

FuturVision 360

65 mm

1.52

Mini
-
Max

Vistascope

35 mm

2.66

MotionMaster

Omni Films

65 mm

2.28

Row
-
film

R. Thun

35 mm

Septorama


? mm x 7 cameras

1.33 x 7
negs

Single Cinerama

Fred Waller

35 mm

Film formats

150 formats over 120 years

Other than the things that rain & snowflakes come from…

7

Footer goes here

Cloud computing is a model for enabling
convenient, on
-
demand network access to
a shared pool of configurable computing
resources (e.g., networks, servers,
storage, applications, and services) that
can be rapidly provisioned and released
with minimal management effort or
service provider interaction. (NIST)

What is Cloud?

Fluffy, grey, wet…

8

Source: NIST


On
-
demand self
-
service


A consumer can unilaterally provision computing capabilities, such as server time and network storage, as needed
automatically without requiring human interaction with each service’s provider.


Broad network access


Capabilities are available over the network and accessed through standard mechanisms that promote use by
heterogeneous thin or thick client platforms (e.g., mobile phones, laptops, and PDAs).


Resource pooling


The provider’s computing resources are pooled to serve multiple consumers using a multi
-
tenant model, with
different physical and virtual resources dynamically assigned and reassigned according to consumer demand.


Rapid elasticity


Capabilities can be rapidly and elastically provisioned, in some cases automatically, to quickly scale out and rapidly
released to quickly scale in


Measured Service


Cloud systems automatically control and optimize resource use by leveraging a metering capability at some level
of abstraction appropriate to the type of service

Cloud


Essential Characteristics

Cirrus, Cumulus, Nimbostratus…

9


Private cloud


The cloud infrastructure is operated solely for an organization. It may be managed by the organization or a third party and m
ay
exist on premise or off premise.


Community cloud


The cloud infrastructure is shared by several organizations and supports a specific community that has shared concerns (e.g.,

mission, security requirements, policy, and compliance considerations). It may be managed by the organizations or a third par
ty
and may exist on premise or off premise.


Public cloud


The cloud infrastructure is made available to the general public or a large industry group and is owned by an organization se
lli
ng
cloud services.


Hybrid cloud


The cloud infrastructure is a composition of two or more clouds (private, community, or public) that remain unique entities b
ut
are
bound together by standardized or proprietary technology that enables data and application portability (e.g., cloud bursting
for

load
-
balancing between clouds).

Different Clouds?

Source: NIST

10


Steve Poehlein



Howard
Lukk


Kurt Kyle


Steve
Mannel


Al Kovalick


Dan Lin


Today’s Panel

Director, Media & Entertainment

Solutions,
HP Enterprise Services


Vice President,

Production Technology,
Walt Disney Studios

Industry Principal, Media & Entertainment,
SAP America, Inc

Global Industry Executive, Media & Communications,
Salesforce.com

Fellow and Strategist,
AVID

Chief System Architect,
Deluxe Entertainment Services

11

Footer goes here

“Movie studios have been moving into virtual business models for
many years. The days in which studios owned the lot, and the
actors, and the theatres are long gone. And so, cloud computing
technologies, which are, in a way, enabling virtualization of
businesses, it’s a very nice fit with the way that studios think about
their businesses currently”


Ben
Pring
, Gartner Cloud Analyst


12

Footer goes here

“There’s no question that the future of the cloud is going to be a big
part of how IT gets delivered to companies like DreamWorks
Animation. The cloud is going to enable us to think more about our
core business and to rely on companies like HP to provide solutions
for the things that we just need to work, but we don’t want to focus
on as an animation company”


Ed Leonard, CTO DreamWorks

We’ve done this before…

13


Cloud Software as a Service (
SaaS
)


The capability provided to the consumer is to use the provider’s applications running on a cloud infrastructure. The
applications are accessible from various client devices through a thin client interface such as a web browser (e.g.,
web
-
based email). The consumer does not manage or control the underlying cloud infrastructure including network,
servers, operating systems, storage, or even individual application capabilities.


Cloud Platform as a Service (
PaaS
)


The capability provided to the consumer is to deploy onto the cloud infrastructure consumer
-
created or acquired
applications created using programming languages and tools supported by the provider. The consumer does not
manage or control the underlying cloud infrastructure including network, servers, operating systems, or storage,
but has control over the deployed applications and possibly application hosting environment configurations.


Cloud Infrastructure as a Service (
IaaS
)


The capability provided to the consumer is to provision processing, storage, networks, and other fundamental
computing resources where the consumer is able to deploy and run arbitrary software, which can include operating
systems and applications. The consumer does not manage or control the underlying cloud infrastructure but has
control over operating systems, storage, deployed applications, and limited control of select networking
components.

Service Models

Source: NIST

THANK YOU

14

Steve Poehlein

HP Enterprise Services


steve.poehlein@hp.com

“I really don’t know clouds at all,”


Joni Mitchell