Category Archives: Consultants

Kommer Kleijn On the Importance of the DCP

This functionality removes the classical “brightness/saturation/contrast” adjustments from the projection chain and puts these settings back in the hands of the laboratory and film makers as was the case with 35mm film previously.

Although, as you rightly state, some of the films shown in festivals may indeed agree to do without encryption and trust no copies will remain, the second functionality cited is very important to cinematographers and directors, certainly also during festivals where their movies are often shown to professional viewers, press and potential buyers.  Therefore the ‘Calibrated Chain’ functionality of the DCP format is very important, also in festivals, even in cases where encryption against piracy is not required.

A film that is sent to a festival in any format other than DCP is not reliably calibrated. This means that ideally the movie needs to be pre-screened at least partly in the theatre it will be shown in, with the director and/or cinematographer in the room (and no audience) to check if the contrast, black level and saturation settings are acceptable or need to be adapted. The same may be true for the sound level.

A DCP is the first and till now ONLY electronic format we know that reliably allows these settings to be determined in the mastering suite, and allow to subsequently sent out a movie in an electronic form while having confidence in the result without the need to sent out a crew member to check before the show.

And we are not only worried about esthetic details: Incorrect settings for black level and/or contrast can result in important story elements (a gun in a drawer, a plane in the sky) to disappear entirely, causing a risk for loss of story comprehension.  Note that this can also happen with an incorrect sound level.

Cinematographers world wide have stressed that digital cinema would not be acceptable without such a “Calibrated Chain” feature. The implementation of this Calibrated chain feature has on the contrary resulted in the world wide support of cinematographers for Digital Cinema. (as 35mm film projection already provided this functionality)

Festivals (or theatres) showing movies in any other format is considered video (and not Cinema) and a correct reproduction can not be guaranteed without verification by the authors or their representatives in each room.

As such verification is not always practical, cinematographers would like to stress that all possible efforts would be made to use the DCP format also in festivals whenever possible at all.

Another important detail that DCP projection solves in comparison to using consumer computers for playback is that a consumer computer generally does not provide straight frame playback. Indeed, output cards of consumer computers are almost always driven at 60 Hz free-run and will force the projector to run at 60 fps as well, and often without any sync to the source material. Movies played back on consumer computers will therefore often show erratic camera movement (2:3 pulldown, often worse), erratic contents (read: actor) movements and sometimes even show split frames (upper part the screen shows a new frame while the lower part shows a previous frame)

This is another reason why DCP playback is greatly preferred by cinematographers, and because it is the only standardized cinema playback system.

So please let us indeed concentrate on how to make DCP playback easier and more convenient for festival operators, in order to avoid at all cost that they might need to revert to a less reliable alternative, as such could eventually cause important damage to the content and subsequently to the industry.

We should try to make DCP playback as easy as possible for them, preferably as easy as 35mm playback was if at all possible. And if direct play from a transport disc helps to that goal, then I wish to encourage that idea too.

Best regards!,

Kommer Kleijn SBC,
Chair of the IMAGO technical committee.

A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    Buzzword Compliance at SMPTE/NAB/CinemaCon

    The fundamentals of Digital Cinema are built upon Open Source tools, in particular Motion-JPEG (instead of the license troubled MPEG world) and AES-128 encryption (instead of any number of private systems) as well as PCM Wave coding for audio. The combined reasoning of avoiding license fees and allowing the technology to flow by inhibiting the restrictions that proprietary tools bring makes sense.

    Now, an adjunct technology iis being held under the same scrutiny and one suspects that the reason is Marketing. Clever marketing, since this is a confused market, but marketing nonetheless. One of the first thing that one learns about standards is that they can be inhibiting and destructive in many circumstances.

    The exhibitors want two things. They want to differentiate themselves by keep giving perks and higher quality in special circumstances. This means that they will buy innovation.

    But they also want some security that the equipment that they buy won’t turn out to be something that they can’t use in a few years. To many the later translates into “Come On Guys, Can’t You Work Together?” Hey~! Open Source.

    Whether Open Source is something the industry wants in its secondary products needs some scrutiny and education. There also has to be some recognition of the enormous amounts of investment that goes into hardware designs and accommodating capabilities not yet dreamed of. 

    What is being heard now is Open Something. Open Source is bandied about, then licensing is tied to usage to become something else. 

    =-=-=This will be updated as the players find ways to answer to their stockholders…or find another way to announce their firstiness.

    Buzzword Compliance at SMPTE/NAB/CinemaCon

    The fundamentals of Digital Cinema are built upon Open Source tools, in particular Motion-JPEG (instead of the license troubled MPEG world) and AES-128 encryption (instead of any number of private systems) as well as PCM Wave coding for audio. The combined reasoning of avoiding license fees and allowing the technology to flow by inhibiting the restrictions that proprietary tools bring makes sense.

    Now, an adjunct technology iis being held under the same scrutiny and one suspects that the reason is Marketing. Clever marketing, since this is a confused market, but marketing nonetheless. One of the first thing that one learns about standards is that they can be inhibiting and destructive in many circumstances.

    The exhibitors want two things. They want to differentiate themselves by keep giving perks and higher quality in special circumstances. This means that they will buy innovation.

    But they also want some security that the equipment that they buy won’t turn out to be something that they can’t use in a few years. To many the later translates into “Come On Guys, Can’t You Work Together?” Hey~! Open Source.

    Whether Open Source is something the industry wants in its secondary products needs some scrutiny and education. There also has to be some recognition of the enormous amounts of investment that goes into hardware designs and accommodating capabilities not yet dreamed of. 

    What is being heard now is Open Something. Open Source is bandied about, then licensing is tied to usage to become something else. 

    =-=-=This will be updated as the players find ways to answer to their stockholders…or find another way to announce their firstiness.

    DoJ Links…and others

    Maybe you’re researching:

    2010 ADA Standards for Accessible Design [Large PDF; Search on “219.3 Receivers.”]

    Digital accessibility: Exhibition industry aims to deliver entertainment for all

    Feds consider movie-captioning rule : Hearing Loss Law

    Live Webcast – ANPRM Hearing in Washington, DC – open captions

    Digital Cinema Specification Documents FAQ from a software writer and all around nice guy, Wolfgang Woehl

    ‎isdcf.com/papers/20091111-TimelineForAccessibility.pdf 

    Troubles getting CSP/RPL protocol through SMPTE

    Nondiscrimination on the Basis of Disability: Movie Captioning and Video Description [DoJ Proposed Rule]

    Movies | Hearing Loss Association of America [Great List of Advances]

    Captionfish – a Captioned Movies Search Engine: The latest captioning technology – a 2011 CinemaCon report

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    Enabling the Disabled in Digital Cinema [Kaagsian Article]

    Update on Digital Cinema Support for Those with Disabilities: December 2010 [Karagosian Site]

    Subtitled cinema – why it matters – Action On Hearing Loss: RNID

    Fire Alarm to Protest Against a Captioned Movie? | Audio Accessibility

    Captioning, Subtitles, Accessibility, Technology, CART, STTR, Language, Literacy, Translation, Interpretation

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    ‎www.titrafilm.com/uploads/Sourds_malentendant_audiodescription_TITRA_FILM.fr.pdf

    ‎www.uslinc.com:8880/ftp/CCE-100/Cce100manual.pdf

    Your Local Cinema .com – Subtitled and Audio Described cinema

    Community and Culture – Frequently Asked Questions | National Association of the Deaf

    Agreement on Terminology – International Federation of Hard of Hearing People

    ‎Washington State Communication Access Project Final Order (pdf)

     Accessibility at AMC Theaters – In Theaters and Online

    Association of Science–Technology Center; What Captioning Is and Who Uses It

    NATO Comments. April 2000; Washington DC Movie Captioning Lawsuit

    Report to Film Council – UK Film Council – British Film Institute

    Inclusion Daily Express — One In Seven UK Cinemas Offers Captioning And Audio-Description | Cinema Technology Article – September 2008

    Digital Screen Network Content Specification V1.1; 20 December 2005 [pdf]

    Nondiscrimination on the Basis of Disability by Public Accommodations and in Commercial Facilities

    Digital Cinema Specification Documents List

    Screen Australia: Research – Cinema – Screens and theatres – Totals | – By exhibitor

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    Subtitled cinema – why it matters – Action On Hearing Loss: RNID

    Open captions for movies – the real story | Media Access Australia

    Fire Alarm to Protest Against a Captioned Movie? | Audio Accessibility

    Deafness Council Western Australia Inc

    Captioned movies

    Deaf Chat | People Deaf Culture – AllDeaf.com

    Captioning, Subtitles, Accessibility, Technology, CART, STTR, Language, Literacy, Translation, Interpretation

    DoJ Links…and others

    Maybe you’re researching:

    2010 ADA Standards for Accessible Design [Large PDF; Search on “219.3 Receivers.”]

    Digital accessibility: Exhibition industry aims to deliver entertainment for all

    Feds consider movie-captioning rule : Hearing Loss Law

    Live Webcast – ANPRM Hearing in Washington, DC – open captions

    Digital Cinema Specification Documents FAQ from a software writer and all around nice guy, Wolfgang Woehl

    ‎isdcf.com/papers/20091111-TimelineForAccessibility.pdf 

    Troubles getting CSP/RPL protocol through SMPTE

    Nondiscrimination on the Basis of Disability: Movie Captioning and Video Description [DoJ Proposed Rule]

    Movies | Hearing Loss Association of America [Great List of Advances]

    Captionfish – a Captioned Movies Search Engine: The latest captioning technology – a 2011 CinemaCon report

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    Enabling the Disabled in Digital Cinema [Kaagsian Article]

    Update on Digital Cinema Support for Those with Disabilities: December 2010 [Karagosian Site]

    Subtitled cinema – why it matters – Action On Hearing Loss: RNID

    Fire Alarm to Protest Against a Captioned Movie? | Audio Accessibility

    Captioning, Subtitles, Accessibility, Technology, CART, STTR, Language, Literacy, Translation, Interpretation

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    ‎www.titrafilm.com/uploads/Sourds_malentendant_audiodescription_TITRA_FILM.fr.pdf

    ‎www.uslinc.com:8880/ftp/CCE-100/Cce100manual.pdf

    Your Local Cinema .com – Subtitled and Audio Described cinema

    Community and Culture – Frequently Asked Questions | National Association of the Deaf

    Agreement on Terminology – International Federation of Hard of Hearing People

    ‎Washington State Communication Access Project Final Order (pdf)

     Accessibility at AMC Theaters – In Theaters and Online

    Association of Science–Technology Center; What Captioning Is and Who Uses It

    NATO Comments. April 2000; Washington DC Movie Captioning Lawsuit

    Report to Film Council – UK Film Council – British Film Institute

    Inclusion Daily Express — One In Seven UK Cinemas Offers Captioning And Audio-Description | Cinema Technology Article – September 2008

    Digital Screen Network Content Specification V1.1; 20 December 2005 [pdf]

    Nondiscrimination on the Basis of Disability by Public Accommodations and in Commercial Facilities

    Digital Cinema Specification Documents List

    Screen Australia: Research – Cinema – Screens and theatres – Totals | – By exhibitor

    showusthecaptions [licensed for non-commercial use only] / Show Us the Captions! Online Press Room

    Subtitled cinema – why it matters – Action On Hearing Loss: RNID

    Open captions for movies – the real story | Media Access Australia

    Fire Alarm to Protest Against a Captioned Movie? | Audio Accessibility

    Deafness Council Western Australia Inc

    Captioned movies

    Deaf Chat | People Deaf Culture – AllDeaf.com

    Captioning, Subtitles, Accessibility, Technology, CART, STTR, Language, Literacy, Translation, Interpretation

    Digital Process Workflow at Createasphere

    Digital Process Workflow Lab To Simulate Leading Real-World Post Production Strategies for Both Film and Television

    Partners Bring Clarity, Cohesion to First-of-its-kind Pavilion at Createasphere’s Fall Entertainment Technology Expo

    BURBANK, CA (August 14, 2012)   Three months before its scheduled launch, Createasphere and its partners have announced further developments in the content of the first-ever Digital Process Workflow (DPW) Lab at the fall edition of the Entertainment Technology Expo (ETE) being held at the Burbank Marriott, November 7-8. The DPW Lab is a curated, walk-through demonstration of the digital workflow ecosystem and the processes that define how content is created, distributed and archived today and in the near future. As both the feature film and broadcast industries continue to adopt new digital technologies, many production professionals are looking for guidance. The DPW Lab will demonstrate customizable strategies that are scalable and affordable, based on real-world solutions that Lab partners are integrating and creating every day in post.

    DPW Lab partners – including Dell, ARRI, Technicolor, Adobe, 5th Kind, FilmLight, Signiant, Levels Beyond, Quantum, Codex and other leading solution providers – are working together to develop a demonstration of file-based content creation from capture to archive and distribution. Each company will contribute its authoritative expertise to an integrated pavilion that showcases today’s best-in-class digital workflow. The ultimate goal of the Lab is for attendees to leave with a “big-picture” understanding of how decisions at every stage of production and post production impact the quality of content generation, and how that content can be accessed and monetized for the future.

    Interactive, educational sections of the DPW Lab will break down each step of the digital processes for feature film and television content creation. A simulated workflow will explore where post begins, how decision-making impacts each stage of the process, and how content is created with real-world solutions in mind. Areas of focus will include:

    • Capture – from camera, on-set dailies management, data capture, and file movement
    • Post – integration of editing, visual effects, finishing and color grading to deliverables
    • Storage – hardware, networking, digital asset management (DAM), and media asset management (MAM)
    • Security – addressing high level protection and performance
    • Distribution – global connectivity
    • Exhibition – cinema and home
    • Mobile – extending the story to second screen experiences
    • Archiving/preservation – accessibility, usability and monetization of content

    “We are extremely proud to showcase our media and entertainment solutions in Createasphere’s Digital Process Workflow Lab this year,” said Laurie Hutto-Hill, general manager for Dell Telecommunications, Media & Entertainment. “The industry’s recent digital transition has created a need for consolidated hardware, unified workflow processes and intelligent storage and archive systems, and we’re thrilled to be able to demonstrate our ability to support these new digital models at the show this year.”

    Industry alliances, keynote speakers and the availability of a downloadable guide and map for the Lab will be announced soon. For more information, visit http://www.createasphere.com/dpwlab.

    About Createasphere
    Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person.

    Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008, and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles, the Digital Process Workflow Lab and the online news and content portals ProVideoCoalition.com, DamCoalition.com and ProPhotoCoalition.com.

    Connect with Createasphere on:
    Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
    Twitter (https://twitter.com/createasphere)
    LinkedIn (http://www.linkedin.com/company/createasphere)
    Vimeo (http://vimeo.com/createasphere)
    Flickr (http://www.flickr.com/search/?q=createasphere&f=hp)

    Digital Process Workflow at Createasphere

    Digital Process Workflow Lab To Simulate Leading Real-World Post Production Strategies for Both Film and Television

    Partners Bring Clarity, Cohesion to First-of-its-kind Pavilion at Createasphere’s Fall Entertainment Technology Expo

    BURBANK, CA (August 14, 2012)   Three months before its scheduled launch, Createasphere and its partners have announced further developments in the content of the first-ever Digital Process Workflow (DPW) Lab at the fall edition of the Entertainment Technology Expo (ETE) being held at the Burbank Marriott, November 7-8. The DPW Lab is a curated, walk-through demonstration of the digital workflow ecosystem and the processes that define how content is created, distributed and archived today and in the near future. As both the feature film and broadcast industries continue to adopt new digital technologies, many production professionals are looking for guidance. The DPW Lab will demonstrate customizable strategies that are scalable and affordable, based on real-world solutions that Lab partners are integrating and creating every day in post.

    DPW Lab partners – including Dell, ARRI, Technicolor, Adobe, 5th Kind, FilmLight, Signiant, Levels Beyond, Quantum, Codex and other leading solution providers – are working together to develop a demonstration of file-based content creation from capture to archive and distribution. Each company will contribute its authoritative expertise to an integrated pavilion that showcases today’s best-in-class digital workflow. The ultimate goal of the Lab is for attendees to leave with a “big-picture” understanding of how decisions at every stage of production and post production impact the quality of content generation, and how that content can be accessed and monetized for the future.

    Interactive, educational sections of the DPW Lab will break down each step of the digital processes for feature film and television content creation. A simulated workflow will explore where post begins, how decision-making impacts each stage of the process, and how content is created with real-world solutions in mind. Areas of focus will include:

    • Capture – from camera, on-set dailies management, data capture, and file movement
    • Post – integration of editing, visual effects, finishing and color grading to deliverables
    • Storage – hardware, networking, digital asset management (DAM), and media asset management (MAM)
    • Security – addressing high level protection and performance
    • Distribution – global connectivity
    • Exhibition – cinema and home
    • Mobile – extending the story to second screen experiences
    • Archiving/preservation – accessibility, usability and monetization of content

    “We are extremely proud to showcase our media and entertainment solutions in Createasphere’s Digital Process Workflow Lab this year,” said Laurie Hutto-Hill, general manager for Dell Telecommunications, Media & Entertainment. “The industry’s recent digital transition has created a need for consolidated hardware, unified workflow processes and intelligent storage and archive systems, and we’re thrilled to be able to demonstrate our ability to support these new digital models at the show this year.”

    Industry alliances, keynote speakers and the availability of a downloadable guide and map for the Lab will be announced soon. For more information, visit http://www.createasphere.com/dpwlab.

    About Createasphere
    Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person.

    Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008, and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles, the Digital Process Workflow Lab and the online news and content portals ProVideoCoalition.com, DamCoalition.com and ProPhotoCoalition.com.

    Connect with Createasphere on:
    Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
    Twitter (https://twitter.com/createasphere)
    LinkedIn (http://www.linkedin.com/company/createasphere)
    Vimeo (http://vimeo.com/createasphere)
    Flickr (http://www.flickr.com/search/?q=createasphere&f=hp)

    2012: The DCinema Year of…

    Barco has brought a somewhat mainstream 3D audio system into the market after years of Iosonno and immsound plowing the ground. Building on Dolby’s work to fill the void in large stadium-seating auditorium venues, this Auro-3D system seems to have some momentum. Barco | Digital cinema | 3D sound | 3D sound technology for digital …

    Meanwhile, IMAX and Laser Light Engines still promise laser driven projectors this year. Barco showed their work-in-progress last month getting 22 ftL on a 70+ foot screen. (More data coming.) RED made rumblings last year about an imminent release, though they have been redefining what imminent means. Regardless, laser will soon be mainstream. This year?

    Alternative Frame Rates took the stage with James Cameron demonstrating how in tune the drum was that he has been pounding for years – that higher resolution was well and good, but not as well and good as higher frame rates. What we know is that the Hobbit will be released in 48 frames per second and Pandora II will be in 60…when it arrives.

    What else? Maybe this will be the year that alternative content starts showing the promise it held in making up for the huge increase in equipment costs of the digital world?

    What else, or which?

    Maybe it is just the year of Catchin’ Up. The frame rate should have been 48 frames from the beginning, but who knew? (…or could do it until now?_) Audio should be more refined for the larger spaces and voids of stadium seating, for alternative content and for the room next door. And getting rid of the heat sucking xenons for lasers? … not a moment too soon. This year will also finally see the conversion to the SMPTE standard from the InterOp standard. Hopefully no one outside the projection booth will notice.

    2012: The DCinema Year of…

    Barco has brought a somewhat mainstream 3D audio system into the market after years of Iosonno and immsound plowing the ground. Building on Dolby’s work to fill the void in large stadium-seating auditorium venues, this Auro-3D system seems to have some momentum. Barco | Digital cinema | 3D sound | 3D sound technology for digital …

    Meanwhile, IMAX and Laser Light Engines still promise laser driven projectors this year. Barco showed their work-in-progress last month getting 22 ftL on a 70+ foot screen. (More data coming.) RED made rumblings last year about an imminent release, though they have been redefining what imminent means. Regardless, laser will soon be mainstream. This year?

    Alternative Frame Rates took the stage with James Cameron demonstrating how in tune the drum was that he has been pounding for years – that higher resolution was well and good, but not as well and good as higher frame rates. What we know is that the Hobbit will be released in 48 frames per second and Pandora II will be in 60…when it arrives.

    What else? Maybe this will be the year that alternative content starts showing the promise it held in making up for the huge increase in equipment costs of the digital world?

    What else, or which?

    Maybe it is just the year of Catchin’ Up. The frame rate should have been 48 frames from the beginning, but who knew? (…or could do it until now?_) Audio should be more refined for the larger spaces and voids of stadium seating, for alternative content and for the room next door. And getting rid of the heat sucking xenons for lasers? … not a moment too soon. This year will also finally see the conversion to the SMPTE standard from the InterOp standard. Hopefully no one outside the projection booth will notice.

    Resource of 3D eBooks

    The SD&A is the Stereoscopic Displays and Applications group, which not only reproduces several excellent resources (available here: Stereoscopic Displays and Applications Virtual Library), but also has a conference – the next will be in San Francisco on Monday-Wednesday 23-25 January 2012 – Conference and Exhibition

    The most recent book that the SD&A is promoting now in the Virtual Library is “The Theory of Stereoscopic Transmission and its application to the motion picture” by Raymond and Nigel Spottiswoode – originally published in 1953.

    “The Theory of Stereoscopic Transmission” provides a theoretical analysis of the three-dimensional geometry of capture and presentation of stereoscopic images as typified by 3D movies. Titles of chapters in the book include: Stereoscopic Depth Range, The Stereoscopic Window, Stereoscopic Calculators, Cameras with Variable Separation and Convergence, Projection, The Human Factor in Stereoscopic Transmission, and much more. An errata list is provided at the end of the book. Also included is an 8 page anaglyph 3D insert “Stereoscopic Diagrams” by Brian Borthwick and Jack Coote which illustrates some of the concepts in the book in 3D.

    See the site and download this and many other books, including Lenny Lipton’s well regarded Foundations of the Stereoscopic Cinema by Lenny Lipton