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HOLLYWOOD IN THE CLOUD What is it? Where is it? Should we use it? HPA Tech Retreat February 17, 2011.

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Presentation on theme: "HOLLYWOOD IN THE CLOUD What is it? Where is it? Should we use it? HPA Tech Retreat February 17, 2011."— Presentation transcript:

1 HOLLYWOOD IN THE CLOUD What is it? Where is it? Should we use it? HPA Tech Retreat February 17, 2011

2 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 mediaon 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 Todays media landscape

3 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

4 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

5 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 using 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 entirely 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 color 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, and color-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

6 FormatCreatorEst.First Known WorkNegative GaugeAspect Ratio ChronophotographeEtienne-Jules Marey1888motion analysis studies90 mm1 PaperfilmLouis Le Prince1888Roundhay Garden Scene 54 mm or 63.5 mm 1 Theatre OptiqueEmile Reynaud1888Pauvre Pierrot ChronophotographicWm. Friese-Greene188954 mm KinesigraphWordsworth Donisthorpe1889view of Trafalgar Square68 mm1.00? Kinetoscope cylinderWm. Dickson & T. Edison 1889 or 1890 Monkeyshines, No. 1cylinder strip Kinetoscope horizontalWm. Dickson & William Heise1891Dickson Greeting19 mm Silent film standardWm. Dickson & T. Edison1892Blacksmith Scene35 mm1.33 BioskopMax Skladanowsky1892footage of Emil Skladanowsky54 mm Acres 70Birt Acres1894 The Henley Royal Regatta of 1894 70 mm1.38 EidoloscopeWoodville Latham1895Griffo-Barnett Prize Fight51 mm1.85 CinematographeLumiere Brothers1895La Sortie des Usines Lumiere35 mm1.33 BiographHerman Casler1895Sparring Contest at Canastota68 mm1.35 Joly-NormandinHenri Joly189560 mm BiographeDemeny-Gaumont189660 mm1.4 ChronophotographeDemeny-Gaumont189660 mm1.4 Sivan-DalphinCasimir Sivan and E. Dalphin189638 mm VeriscopeEnoch Rector1897Corbett-Fitzsimmons fight63 mm1.66 ViventoscopeThomas Henry Blair189748 mm1.5 BirtacBirt Acres1898unknown (amateur format)17.5 mm BiokamT. C. Hepworth1899unknown (amateur format)17.5 mm1.6 Prestwich 13 mmJohn Alfred Prestwich1899unknown (amateur format)13 mm MirographReulos, Goudeau & Co1900unknown (amateur format)21 mm Lumiere WideLumiere Brothers190075 mm1.33 CineoramaR. Grimoin-Sanson1900Cineorama 70 mm x 10 cameras La Petite (Hughes)W.C. Hughes1900unknown (amateur format)17.5 mm1.6 Pocket ChronoGaumont Demeny1900unknown (amateur format)15 mm VitakWilliam Wardell1902unknown (amateur format)no standard Home KinetoscopeEdison1912unknown (amateur format)no standard Pathe KokPathé1912unknown (amateur format)28 mm1.36 DuoscopeAlexander F. Victor1912unknown (amateur format)17.5 mm PanoramicoFiloteo Alberini1914Il sacco di Roma70 mm2.52 Split DuplexDuplex Corporation191535 mm1.33 11 mm(American)1916unknown (amateur format)11 mm MovetteMovette Camera Company1917unknown (amateur format)17.5 mm 28 mm safety standardAlexander Victor1918unknown (amateur format)28 mm1.36 Clou(Austrian)1920unknown (amateur format)17.5 mm 26 mm(French)1920unknown (amateur format)26 mm 9.5 mmPathé1922unknown (amateur format)9.5 mm1.31 PhonofilmLee De Forest1922 Barking Dog, Flying Jenny Airplane 35 mm1.33 Widescope John D. Elms & George W. Bingham 192235 mm x 2 0.980" x 0.735" CineblocOzaphan1922unknown (amateur format)22 mm Tri-Ergon soundfilmTri-Ergon192235 mm1.33 16 mmEastman Kodak1923unknown (amateur format)16 mm1.37 DuplexG.J. Bradley1923unknown (amateur format)11 mm Alberini-HillCorrado Cerqua192435 mm1.66 CineluxOzaphan1924unknown (amateur format)24 mm 48 mmJ.H. Powrie192448 mm1.32 Natural Vision George K. Spoor & P. John Berggren 1925 Niagara Falls and Rollercoaster Ride 63.5 mm1.84 13 mm(French)1925unknown (amateur format)13 mm 18 mm(Russian)1925unknown (amateur format)18 mm Pathe RuralPathé1926unknown (amateur format)17.5 mm1.35 Widevision John D. Elms & George W. Bingham 1926Natural Vision Pictures57 mm MagnascopeLorenzo del Riccio1926Old Ironsides35 mm1.33 Fox MovietoneF. H. Owens, T. Case, Tri-Ergon1927Sunrise35 mm1.33 PolyvisionAbel Gance1927Napoléon 35 mm x 3 cameras 1.33 x 3 negs HypergonarHenri Chretien1927Pour construire un feu35 mm2.66 MagnafilmLorenzo del Riccio1929You're in the Army Now56 mm2.19 Fox GrandeurFox Film Corporation1929 Fox Grandeur News Movietone Follies of 1929 70 mm2.07 Fearless Super PicturesRalph G. Fear192935 mm2.27 Fearless Super-Film / Magnifilm / Fox Vitascope Ralph G. Fear1930Kismet65 mm2 RealifeMGM1930Billy the Kid70 mm2.07 50 mmFox Film Corporation & SMPE193050 mm1.8 17 mm sound(French)1930unknown (amateur format)17 mm Giant Expanding PicturesGeorge Palmer193035 mm1.33 Kodel Kemco HomovieClarence Ogden1931unknown (amateur format)16 mm Academy formatAMPAS193235 mm1.37 8 mmEastman Kodak1932unknown (amateur format)16 mm1.32 Straight 8Bell and Howell1935unknown (amateur format)8 mm1.32 VitaramaFred Waller1939 16 mm x 11 cameras 1.37 x 11 negs Waller Flexible Gunnery TrainerFred Waller1943US Air Force training exercise 35 mm x 5 cameras 1.37 x 5 negs CineramaFred Waller1952This is Cinerama 35 mm x 3 cameras 2.59 (3 x negs) Matted 1.66Paramount1953Shane35 mm1.37 Matted 1.85Universal1953Thunder Bay35 mm1.37 Matted 1.75MGM1953Arena35 mm1.37 Cinemascope20th Century Fox1953The Robe35 mm2.55 & 2.37 ArnoldscopeJohn Arnold195335 mm VistaVisionParamount1954White Christmas35 mm1.51 VistaVision Large AreaParamount1954White Christmas35 mm1.51 SuperscopeTushinsky Brothers1954Vera Cruz35 mm1.33 CircaramaDisney1955A Tour of the West 16 mm x 11 cameras 1.37 x 11 negs Todd A.O.Michael Todd1955Oklahoma65 mm2.29 Cinemascope 5520th Century Fox1955Carousel55 mm2.55 9.5 DuplexPathé Fréres1955 ?9.5 mm1.51 8 mm PanoramicDimaphot, Paris1955 ?16 mm1.5 Emel PanoscopeEmel, Paris1955 ?16 mm2.7 TechniramaTechnicolor1956The Monte Carlo Story35 mm2.26 Technirama Large AreaTechnicolor1956The Monte Carlo Story35 mm2.26 Dynamic FrameGlenn Alvey1956The Door in the Wall35 mm 1.3, 1.6, & 2.5 Superscope 235Superscope Inc.1956Run for the Sun35 mm1.33 ThrillaramaAlbert H. Reynolds1956Thrillarama Adventure 35 mm x 2 cameras 1.78 x 2 negs MagiramaAbel Gance1956Magirama 35 mm x 3 cameras 1.33 x 3 negs MGM Camera 65Panavision1957Raintree County65 mm2.93 Ultra PanavisionPanavision1962Mutiny on the Bounty65 mm2.76 CinestageMike Todd1957Around the World in 80 Days65 mm2.29 Rank VistaVisionJ. Arthur Rank Organization195735 mm1.51 Modern anamorphicPanavision1958The Female Animal35 mm2.37 KinopanoramaNIKFI1958Great Is My Country 35 mm x 3 cameras 0.91 x 3 negs 70 mmAmerican Optical Company1958South Pacific65 mm2.28 CinemiracleNational Theatres1958Windjammer 35 mm x 3 cameras 0.89 x 3 negs Super TechniramaTechnicolor1959Sleeping Beauty35 mm2.26 Smith-Carney System Rowe E. Carney Jr. and Tom F. Smith 1959Missouri travelogue35 mm4.69 Circular Kinopanorama / CircloramaE. Goldovsky1959The Path of Spring 35 mm x 11 cameras 1.37 x 11 negs VarioscopeJan Jacobsen1959Flying Clipper65 mm2.28 QuadravisionFord Motor Company1959Design for Suburban Living ? mm x 4 cameras ? x 4 negs TechniscopeTechnicolor1960The Pharaoh's Woman35 mm2.33 Wonderama (Arc 120)Leon W. Wells1960Honeymoonno standard Cine System 3Eric Berndt1960USAF and NASA usage3 mm Grandeur 7020th Century Fox1961The King and I (re-release)55 mm2.55 Cinerama 360Cinerama Corporation1962Journey to the Stars65 mm1.00 (circle) Super 8Eastman Kodak1965unknown (amateur format)8 mm1.48 Real SoundKenner1965no standard Double Super 8Eastman Kodak1965unknown (amateur format)16 mm1.48 Single-8Fujifilm1966unknown (amateur format)8 mm1.36 Dimension 150American Optical Company1966The Bible: In the Beginning65 mm2.28 Circle Vision 360Disney1967America the Beautiful 35 mm x 9 cameras 1.37 x 9 negs 8.75 mmShanghai Film Projection1968unknown (amateur format) AstrovisionGoto Optical196965 mm IMAXIMAX Corporation1970Tiger Child70 mm1.34 Super 16 mm filmRune Ericson1970Blushing Charlie16 mm1.66 Pik-a-MovieLeon W. Wells1972no standard OMNIMAXIMAX Corporation1973Garden Isle70 mm1.34 8/70 (Dynavision, Iwerks 870)Dynavision1973?65 mm1.37 ShowscanDouglas Trumbull1978Night of Dreams65 mm2.28 PolavisionPolaroid Corporation1978unknown (amateur format)8 mm1.48 Cinema 180Omni Films1979Crazy Wheels65 mm2.28 Super 35Joe Dunton1982Dance Craze35 mm1.33 Circle Vision 200Disney1982Impressions de France 35 mm x 5 cameras 1.37 x 5 negs Swissorama 360 / Imagine 360Ernst A. Heiniger1984Impressions of Switzerland65 mm360° Super Duper 8 / Max 8 / Super 8BMitch Perkins & Greg Millermid-1980sSleep Always (2002)8 mm1.51 3-perfRune Ericson1987Pirates of the Lake35 mm1.79 Super VistaVisionParamount1989The Ten Commandments35 mm1.51 Kinoton HDFSKinoton1990no standard IMAX Magic CarpetIMAX Corporation1990Flowers in the Sky 70 mm x 2 cameras 1.34 IwerksphereIwerks199165 mm1.37 IMAX HDIMAX Corporation1992Asteroid Adventure70 mm1.34 Hexiplex(Australian)1992Expo '92 demo 35 mm x 6 cameras 1.37 x 6 negs Ultra ToruscopeMac McCarney1992 35 mm x 3 cameras 1.37 x 3 negs Imagination FX 7012Geo-Odyssey199235 mm2.08 UnivisiumVittorio Storaro1998Tango35 mm2 MaxivisionDean Goodhill199935 mm1.79 Maxivision 48Dean Goodhill199935 mm1.79 Super Dimension 70Robert Weisgerber199965 mm2.28 FuturVision 36065 mm1.52 Mini-MaxVistascope35 mm2.66 MotionMasterOmni Films65 mm2.28 Row-filmR. Thun35 mm Septorama ? mm x 7 cameras 1.33 x 7 negs Single CineramaFred Waller35 mm Film formats 150 formats over 120 years

7 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?

8 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 services 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 providers 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

9 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 may 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 party 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 selling cloud services. Hybrid cloud – The cloud infrastructure is a composition of two or more clouds (private, community, or public) that remain unique entities but 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 10 Steve Poehlein Howard Lukk Kurt Kyle Steve Mannel Al Kovalick Dan Lin Todays 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, Fellow and Strategist, AVID Chief System Architect, Deluxe Entertainment Services

11 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, its a very nice fit with the way that studios think about their businesses currently – Ben Pring, Gartner Cloud Analyst

12 12 Footer goes here Theres 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 dont want to focus on as an animation company – Ed Leonard, CTO DreamWorks

13 Weve done this before… 13 Cloud Software as a Service (SaaS) – The capability provided to the consumer is to use the providers 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

14 THANK YOU 14 Steve Poehlein HP Enterprise Services I really dont know clouds at all, – Joni Mitchell

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