News Stories

IMF Version 1.0 Launches

2.17.2011

The HPA Tech Retreat attendees applauded the news that version 1.0 of the Interoperable Master Format, or IMF, will be published next week.
The IMF—whose draft was created by studio representatives and other stakeholders under the ETC@USC umbrella—is now the subject of a SMPTE working group with a goal of standardizing the format.
Chairing the SMPTE group is Annie Chang, vp postproduction technology at Walt Disney Studios. During the HPA session on interoperable mastering and interoperable media, she offered an overview of IMF, and she explained that there would be a basic level, supporting today’s needs; followed by an extended level, in an effort to future proof the format.
Citing the HPA discussions about the AMPAS work, she noted that IMF would be used upstream from IIF ACES.
Also during the panel, Brad Gilmer of the Advanced Media Workflow Association offered an overview of FIMS (Framework for Interoperable Media Services), an EBU/AMWA effort.
Via a recorded message, EBU’s Hans Hoffmann noted that FIMS aims to achieve interoperability at a time that the industry is moving toward software-based workflow. He suggested that this could result in flexible workflows with cost efficiencies and production efficiencies.
Said Gilmer of its development effort: “We want to be fast as there is a limited window to do this before there are tons of deployments.”
Participation in IMF and FIMS work was encouraged.

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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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