News Stories

IIF/ACES Momentum Builds

2.15.2011

Curtis Clark, ASC and colorist Pankaj Bajpal of Encore Hollywood demonstrated the IIF/ACES workflow with a series of clips at the HPA Tech Retreat. The clips included IIF ACES dynamic range, compared with video linear, and the Clark added that they have been able to replicate the results.
“The whole objective is to make sure the creative intent of cinematographers and directors are properly maintained from on set to final grade,” Clark emphasized.
“The short message is we really think people should start to get involved,” Ray Feeney told the attendees. “Customers are going to begin asking for it.”
“There are extensive efforts that vary in scope. Some are particular implementations. Some of the groups have gotten full implementations up,” he added. “We expect some bumps along the way. We are here to help.”
Feeney reported: “We are deep into the SMPTE process for standardization, we expect to get it to voting groups within the next 30 days.”
“Justified” is the first TV series to use the system.
Lou Levinson reported that IIF/ACES will next be used on a restoration project and as part of a deliverables process.

3D Restoration and TV Workflow

2.15.2011

During the HPA Supersession on workflows, Tuesday morning presentations included:

–Deluxe’s method of creating new digital 3D masters from old 3D movies, on an affordable budget. The company tested Amityville 3D (1983) and GOG (1954). “We used off the shelf tools as much a possible to keep the costs down,” said Deluxe’s Kari Grubin, explaining that with a workflow that incorporated tools include Smoke and a daVinci, the company was able to keep budgets similar to other 2K restoration work. “Classic 3D is back. We hope in 6-8 months, we’ll be able pop in a Blu-ray and enjoy some of these classic movies.”

–TV series Community’s XDCAM workflow: The stock is more expensive, however this workflow eliminates downconvertion and online. Workflow savings amounts to roughly $13,000 per episode, reported Jake Aust, producer/post.

–TV project “Homeland,” which used Fotokem’s NextLAB mobile file-based workflow system: “I can’t mention it enough: quality control,” Fotokem’s Paul Chapman emphasized of the workflow topic in general. “Homeland” is shooting Alexa on location in North Carolina, recording ProRes 4:4:4. As part of its workflow, Fotokem aims to create a “Manifest,” what Chapman described as a metadata package that describes all of the work done so far to a project.

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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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