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Digital Cinema Lab (DCL)

The Digital Cinema lab has relocated to the University of Southern California campus!

Eileen Norris Cinema Theatre
 3507 Trousdale Parkway
Los Angeles, CA 90089
Tel: (213) 743-1600

Parking (USC Map Grid indicators) 
 USC Map PDF
 Entrance off Jefferson Blvd and Royal St: Gate 4 (G3)
 Parking Structure D (G4) 
Norris Theatre (E4)

Brief History

The Digital Cinema Laboratory opened at the historic Hollywood Pacific Theatre in October 2000 to perform research and establish benchmarks regarding standards for digital cinema distribution and exhibition. The DCL has been host to myriad meetings, discussions, tests and demos surrounding digital cinema. ETC and the DCL are often credited for providing the catalyst that made digital cinema a reality rather than a theoretical discussion.

In November 2006, after digital theaters began rolling out in earnest, ETC moved the lab to the Eileen Norris Cinema Theatre on the University of Southern California campus in downtown Los Angeles, where the DCL could continue providing a testing facility at the same time providing a platform for training the next generation of film creators.

DCL Mission

To be a global leader in providing a test bed for digital cinema distribution and exhibition, as well as for the growing use of digital cinema technology in image creation and post production.

To evaluate proposed technology solutions for quality, robustness, and interoperability.

To reach out to the creative community and bring their needs and their artistic and critical skills to bear on solving problems in the transition to digital cinema.

To work with efforts underway around the world, so that digital cinema labs can share test materials and procedures.

To be a showcase for the best in cinema presentation.

Interoperable Master Format

The goal of the Interoperable Master Format (IMF) project is to develop a voluntary specification for an interoperable set of master files (and associated metadata) to enable standard interchange and automated creation of downstream distribution packages. We hope to create a voluntary specification that will be handed to SMPTE in the Fall of 2010 to kick off a formal standards-setting process.

Some of the benefits of the IMF should be:

* Single, interchangeable master file format

* Automated packaging & delivery

* Minimize storage

* Simplify post production transcodes

The IMF will store one master set of file based elements to be assembled for any downstream distribution using multiple Composition Play Lists (Recipes), similar to what is used in present day Digital Cinema Packaging (DCP). The broad concept of a high quality, uniform IMF should lower costs, improve time-to-market, and increase interoperability of existing production processes and needs. Of course, a IMF file-based workflow could be implemented and customized by any content creator, service provider, or distribution partner.

Specification Development Process The Entertainment Technology Center is hosting regular discussions related to the IMF among the majority of the major studios — the epicenter for the issues the IMF is trying to solve. The specification process is designed to solicit additional input and commentary from outside companies and individuals. For example, other ETC member companies get regular briefings and opportunities to provide input. In addition, companies and individuals who are not members of ETC but who are in the industries who may use or may be affected by the IMF will be briefed periodically and will have an opportunity to provide feedback via email reflector on an ongoing basis. How to get Involved The ETC and the IMF Tech Committee briefs the industry and seeks input from outside companies.

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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