BuzzwordCompliance™ Detectors Already Overloading at IBC

One of the great parts of being Press at a convention like IBC is the absolute flood of email’d press releases that come in for weeks in advance. It allows one to prepare, and I am especially prepared for the BuzzwordCompliance Award.

So far, Customer Experience Management (CEM) Technology has got me hyped. I’ll spend the entire train ride to the show wondering why it isn’t CEMT.

Harkness At Puma

Half the light at 26 degreesFrom the press release: “…the 3D projection setup achieved the longest throw distance (using a Barco DP2K-32B projector) ever recorded at 73.6 metres (242ft) exceeding the recommended throw distance. Furthermore, the setup, which included an 18.70 x 8.45m Stagelite Stereo 3D Screen from Harkness Screens, achieved a wide-viewing angle of 60º allowing the 3D presentation to be viewed at suitable brightness levels throughout the entire seating area.”

5,920 people. 

We need to learn the lumens. We need to draw a drawing.That is a pretty wide venue. I can’t believe Viewing Angle for Stagelite Stereo–How the Light Falls Off

A shot of how wide the PULA site is

Harkness At Puma

Half the light at 26 degreesFrom the press release: “…the 3D projection setup achieved the longest throw distance (using a Barco DP2K-32B projector) ever recorded at 73.6 metres (242ft) exceeding the recommended throw distance. Furthermore, the setup, which included an 18.70 x 8.45m Stagelite Stereo 3D Screen from Harkness Screens, achieved a wide-viewing angle of 60º allowing the 3D presentation to be viewed at suitable brightness levels throughout the entire seating area.”

5,920 people. 

We need to learn the lumens. We need to draw a drawing.That is a pretty wide venue. I can’t believe Viewing Angle for Stagelite Stereo–How the Light Falls Off

A shot of how wide the PULA site is

IBC Alert !!! Schiphol to RAI Train Disruption

Travel disruption during IBC2012…RAI <=> Schipol, Weekend Only

The Dutch Railway Service (NS) will be carrying out essential engineering works during the weekend of Saturday 8 and Sunday 9 September which will affect travel between Schipol airport and the RAI.

The train line from Schipol Airport to Holendrecht, via the RAI, will be affected, and no trains will run on this line during the weekend. There will be additional shuttle buses running from Schipol and surrounding hotels to the RAI, and Information Hostesses will be available at Schipol for additional travel information. You can see the (grey) train line affected here: http://www.amsterdamtips.com/images/amsterdam-metro-map.gif. Trams, metro and buses are not affected.

IBC Alert !!! Schiphol to RAI Train Disruption

Travel disruption during IBC2012…RAI <=> Schipol, Weekend Only

The Dutch Railway Service (NS) will be carrying out essential engineering works during the weekend of Saturday 8 and Sunday 9 September which will affect travel between Schipol airport and the RAI.

The train line from Schipol Airport to Holendrecht, via the RAI, will be affected, and no trains will run on this line during the weekend. There will be additional shuttle buses running from Schipol and surrounding hotels to the RAI, and Information Hostesses will be available at Schipol for additional travel information. You can see the (grey) train line affected here: http://www.amsterdamtips.com/images/amsterdam-metro-map.gif. Trams, metro and buses are not affected.

Breach Mitigation or Bust?

Even large corporates can fall foul of the weakest link scenario, with the hacker following a likely looking ‘suit’ home and cracking the most likely default Wi-Fi router encryption. From here it’s a relatively simple journey to the machine they have attached to the corporate VPN.

From an ITPro article: Data security: is breach mitigation all that’s left? by Davd Winder (30 July 2012)

If you accept the premise that it’s inevitable your enterprise network will be attacked, and most likely breached, then is mitigation really where the IT security focus should be?

“All organisations are susceptible to being breached and anything contrary to that fact is false,” claims Marcus Carey, a security researcher at Rapid7. “

It is impossible to eliminate all risk when it comes to network security.” IT security is all about minimising the risk level through the use of defence in-depth strategies and incident response plans: detect and destroy is the motto of the day.So is it right to suggest, as I have done in the introduction to this piece, that a network breach is all but inevitable? Perhaps unsurprisingly opinion is divided on this one. Wade Baker, director of risk intelligence at Verizon, reckons that taking such a view is “unhelpful at best” and points out that “97 per cent of the attacks analysed in the 2012 Verizon Data Breach Investigation Report were avoidable, without the need for organisations to resort to difficult or expensive countermeasures.”

He does, however, admit that the security industry has long been guilty of placing the emphasis on prevention and not enough into detection and response. “Risk mitigation implies companies assume an almost passive role, checking no alarms have been tripped and watching who is trying to climb over the walls,” Baker insists, concluding “I would suggest that we need agile security teams that can take a proactive role and not only monitor external attacks, but also gain visibility of what is going on inside the network to check no one has sneaked past defences.”

Darien Kindlund, senior staff scientist at security specialist FireEye, is succinct in his disagreement. “In fact, it’s better to assume your organisation has already been compromised and develop defences based around that assumption,” he told IT Pro. “You will be less surprised and better prepared, accordingly”.

Or, as Arun Sood from SCIT Labs puts it: “The current cyber security approaches rely on prior knowledge of the vulnerabilities and the threats. However, the current approaches are in-adequate. Ensuring reliable and accurate knowledge of the vulnerabilities and the attacker, is impossible – there are far too many threads to track at any one time. Attempts at increasing probability of detection leads to rapid increase in false positives and thus security operations costs. Thus we believe that intrusions are inevitable. Mitigation strategies are required for limiting the losses”.

Dead duck security?

 But if the mitigation argument holds up, where does that leave attack prevention? Is it really pointless to try and prevent a breach, and should resources therefore be focused on containment instead? Filippo Cassini, vice president of International Systems Engineering at Fortinet, certainly doesn’t hold with the ‘pointless’ argument, suggesting that leaving prevention out of the equation “would be like taking away seat belts from a car because we have airbags.”

Or as Kevin Dowd, CEO at CNS says “surviving an advanced and sustained attack would be difficult for many businesses, but that doesn’t mean they should give up.” Indeed, he believes they should have counter measures in place that make an attack too challenging in terms of the resources needed. “This is where most businesses could do better,” Dowd insists. “Often, SMEs think that they are too small or not visible enough to be a target.“

Consequently, detective capabilities are often weak, the Verizon 2012 Data Breach Investigations Report found that 92 per cent of incidents were discovered by a third party, and businesses end up developing their security strategy under duress.

Mitigating post-hack is more difficult and expensive. “We estimate that every pound spent up front on security measures is worth ten pounds after a breach, when businesses can be faced with high emergency response rates and consultants on site for longer than would have previously have been necessary,” Dowd adds.

Much of this can be mitigated into oblivion by getting rid of the sensitive data in the first place – by out sourcing payments so as to avoid holding card data, for example – and improving the governance structure.

In conclusion

It’s all very well talking about mitigation in terms of containment and analysis, but this whole argument surely stands or falls on whether the breach itself is detected in a timely fashion. I would argue that, in far too many instances, detection doesn’t happen until weeks after the breach event itself and sometimes those weeks can run into months.

Verizon’s Baker told me that amongst the more advanced attacks he has investigated, such as those which target intellectual property, which are difficult to spot “many take a year or more to pinpoint, and we suspect that many more are simply never discovered by the victim.

“I’m not suggesting that breach mitigation is a red herring, and it’s certainly no dead duck either, but for mitigation strategy to work successfully it has to be coupled with effective real-time breach detection technology to prevent data loss.

“To be successful in attack mitigation you need to firstly, understand what’s happening and then target your resources appropriately to contain and eradicate the threat,” says Don Smith, director of technology at Dell SecureWorks, who warns that learning from your mistakes is a vital link in the chain and one that reactive mitigation alone is unlikely to forge.”

If your focus is always on reacting to successful breaches you are going to be the easiest target and will be breached a lot,” Smith says. “You need to focus on prevention, monitoring and how you successfully respond to a breach, not spend all your time looking at the past.”

Breach Mitigation or Bust?

Even large corporates can fall foul of the weakest link scenario, with the hacker following a likely looking ‘suit’ home and cracking the most likely default Wi-Fi router encryption. From here it’s a relatively simple journey to the machine they have attached to the corporate VPN.

From an ITPro article: Data security: is breach mitigation all that’s left? by Davd Winder (30 July 2012)

If you accept the premise that it’s inevitable your enterprise network will be attacked, and most likely breached, then is mitigation really where the IT security focus should be?

“All organisations are susceptible to being breached and anything contrary to that fact is false,” claims Marcus Carey, a security researcher at Rapid7. “

It is impossible to eliminate all risk when it comes to network security.” IT security is all about minimising the risk level through the use of defence in-depth strategies and incident response plans: detect and destroy is the motto of the day.So is it right to suggest, as I have done in the introduction to this piece, that a network breach is all but inevitable? Perhaps unsurprisingly opinion is divided on this one. Wade Baker, director of risk intelligence at Verizon, reckons that taking such a view is “unhelpful at best” and points out that “97 per cent of the attacks analysed in the 2012 Verizon Data Breach Investigation Report were avoidable, without the need for organisations to resort to difficult or expensive countermeasures.”

He does, however, admit that the security industry has long been guilty of placing the emphasis on prevention and not enough into detection and response. “Risk mitigation implies companies assume an almost passive role, checking no alarms have been tripped and watching who is trying to climb over the walls,” Baker insists, concluding “I would suggest that we need agile security teams that can take a proactive role and not only monitor external attacks, but also gain visibility of what is going on inside the network to check no one has sneaked past defences.”

Darien Kindlund, senior staff scientist at security specialist FireEye, is succinct in his disagreement. “In fact, it’s better to assume your organisation has already been compromised and develop defences based around that assumption,” he told IT Pro. “You will be less surprised and better prepared, accordingly”.

Or, as Arun Sood from SCIT Labs puts it: “The current cyber security approaches rely on prior knowledge of the vulnerabilities and the threats. However, the current approaches are in-adequate. Ensuring reliable and accurate knowledge of the vulnerabilities and the attacker, is impossible – there are far too many threads to track at any one time. Attempts at increasing probability of detection leads to rapid increase in false positives and thus security operations costs. Thus we believe that intrusions are inevitable. Mitigation strategies are required for limiting the losses”.

Dead duck security?

 But if the mitigation argument holds up, where does that leave attack prevention? Is it really pointless to try and prevent a breach, and should resources therefore be focused on containment instead? Filippo Cassini, vice president of International Systems Engineering at Fortinet, certainly doesn’t hold with the ‘pointless’ argument, suggesting that leaving prevention out of the equation “would be like taking away seat belts from a car because we have airbags.”

Or as Kevin Dowd, CEO at CNS says “surviving an advanced and sustained attack would be difficult for many businesses, but that doesn’t mean they should give up.” Indeed, he believes they should have counter measures in place that make an attack too challenging in terms of the resources needed. “This is where most businesses could do better,” Dowd insists. “Often, SMEs think that they are too small or not visible enough to be a target.“

Consequently, detective capabilities are often weak, the Verizon 2012 Data Breach Investigations Report found that 92 per cent of incidents were discovered by a third party, and businesses end up developing their security strategy under duress.

Mitigating post-hack is more difficult and expensive. “We estimate that every pound spent up front on security measures is worth ten pounds after a breach, when businesses can be faced with high emergency response rates and consultants on site for longer than would have previously have been necessary,” Dowd adds.

Much of this can be mitigated into oblivion by getting rid of the sensitive data in the first place – by out sourcing payments so as to avoid holding card data, for example – and improving the governance structure.

In conclusion

It’s all very well talking about mitigation in terms of containment and analysis, but this whole argument surely stands or falls on whether the breach itself is detected in a timely fashion. I would argue that, in far too many instances, detection doesn’t happen until weeks after the breach event itself and sometimes those weeks can run into months.

Verizon’s Baker told me that amongst the more advanced attacks he has investigated, such as those which target intellectual property, which are difficult to spot “many take a year or more to pinpoint, and we suspect that many more are simply never discovered by the victim.

“I’m not suggesting that breach mitigation is a red herring, and it’s certainly no dead duck either, but for mitigation strategy to work successfully it has to be coupled with effective real-time breach detection technology to prevent data loss.

“To be successful in attack mitigation you need to firstly, understand what’s happening and then target your resources appropriately to contain and eradicate the threat,” says Don Smith, director of technology at Dell SecureWorks, who warns that learning from your mistakes is a vital link in the chain and one that reactive mitigation alone is unlikely to forge.”

If your focus is always on reacting to successful breaches you are going to be the easiest target and will be breached a lot,” Smith says. “You need to focus on prevention, monitoring and how you successfully respond to a breach, not spend all your time looking at the past.”

Beyond DCI – The Need for New D-Cinema Standards

Those of us who create and manufacture digital cinema projection equipment face the challenge of knowing what standards to aim for as frame rates jump from 24 to 48, 60 and beyond. At 24 fps, the DCI-specified peak bit rate of 250 Mbps for the picture is satisfactory. It seems logical then that, by doubling the frame rate to 48, we also need to double the bit rate to 500. Indeed, the general industry direction for exhibiting 48 fps 3D material is leaning toward a bit rate of 450 Mbps, leaving some room for peaking to 500.

As we move toward HFR and its necessary twin, high bit rate (HBR), the whole production and exhibition chain must move in unison. Cameras, servers, IMBs and projectors all have to be modified and advanced to keep up with the necessary speeds. Nowhere is this more evident than in the giant screen venues, which require multiple synchronized projectors and servers that can handle high bit rates and high frame rates. As an industry facing change, we need to come to agreement on what is necessary and update the DCI and SMPTE specs for the D-cinema industry. Before we can, we need to address some technical issues, namely the need for HFR content to test, how to measure frame rate specs of equipment, and what to do with mixed content within the same show. An additional concern is the special needs of Giant Screen exhibition, namely servers capable of streaming 4K 3D data to dual synchronized projectors.

First, there is the problem that testing new equipment at high frame rates and high bit rates requires content. This won’t be an issue if filmmakers begin filming at 48 or 60 fps. We’re looking forward to The Hobbit presentations later this year to see the full potential of the media.

Another technical issue is the varied ways in which bit rate is measured. We saw at NAB and CinemaCon this year that most manufacturers of D-cinema projection equipment now stream 48 fps data at aggregate speeds of 500 Mbps. However, this does not necessarily mean that all the internal independent components within the JPEG 2000 codestream, each of which may have limitations, can run at bit rates of 500 Mbps. DCP providers need to be aware that these limitations exist when making decisions about mastering. We will need to ensure that manufacturers report both aggregate and component bit rates.

An interesting dilemma that has not yet been solved is what to do with content of different speeds played in the same show. Servers and projectors will behave differently when switching between content with different frame rates and this can lead to viewing problems. What if a 24 fps trailer is played before a 48 fps presentation of The Hobbit? We will need to hear from exhibitors and content owners about want they want to provide in terms of an acceptable user experience. The Inter-Society Digital Cinema Forum (ISDCF) is aware of this problem and has been conducting tests with various manufacturers and content owners involved.

One major limitation to implementing HFR stereo 3D that we have solved is that of moving data at sufficient speeds from server to projector. This has been accomplished by swapping the HD-SDI cable for an Ethernet connection, as well as embedding IMBs in projectors. IMBs have now become industry-standard equipment shipped with all servers, and a necessary part of any new spec. Coupled with improvements in Series 2 projectors, including image brightness, the IMB’s increased speeds will certainly enhance image quality and alleviate some of the viewer discomfort during stereo 3D projection.

How Qube handles these challenges

The Qube XP-I server is capable of a bit rate of 1 Gbps, while each Xi IMB can handle up to 500 Mbps, with no component bit rate limitation. This is in keeping with current storage throughput and image decoder specs. Qube servers have the same component and aggregate bit rates.

The Qube XP-I server and Xi IMB are capable of frame rates up to 120 fps per eye. This gives a frame rate of up to 240 fps for dual projection driven by a single server streaming a single DCP for stereo 3D.

Qube has also shown that exhibition of 4K 3D content on Giant Screens is possible from a single XP-I server, streaming data at 1 Gbps and 30 fps to dual synchronized ultra-bright projectors. This greatly enhances the 3D viewing experience at Giant Screen venues.

When updating digital cinema specifications, we should aim high with respect to HFR in anticipation of where filmmakers might go. In this way we will be future proofing the next set of standards.

Rajesh Ramachandran is the CTO of Qube Cinema.

Beyond DCI – The Need for New D-Cinema Standards

Those of us who create and manufacture digital cinema projection equipment face the challenge of knowing what standards to aim for as frame rates jump from 24 to 48, 60 and beyond. At 24 fps, the DCI-specified peak bit rate of 250 Mbps for the picture is satisfactory. It seems logical then that, by doubling the frame rate to 48, we also need to double the bit rate to 500. Indeed, the general industry direction for exhibiting 48 fps 3D material is leaning toward a bit rate of 450 Mbps, leaving some room for peaking to 500.

As we move toward HFR and its necessary twin, high bit rate (HBR), the whole production and exhibition chain must move in unison. Cameras, servers, IMBs and projectors all have to be modified and advanced to keep up with the necessary speeds. Nowhere is this more evident than in the giant screen venues, which require multiple synchronized projectors and servers that can handle high bit rates and high frame rates. As an industry facing change, we need to come to agreement on what is necessary and update the DCI and SMPTE specs for the D-cinema industry. Before we can, we need to address some technical issues, namely the need for HFR content to test, how to measure frame rate specs of equipment, and what to do with mixed content within the same show. An additional concern is the special needs of Giant Screen exhibition, namely servers capable of streaming 4K 3D data to dual synchronized projectors.

First, there is the problem that testing new equipment at high frame rates and high bit rates requires content. This won’t be an issue if filmmakers begin filming at 48 or 60 fps. We’re looking forward to The Hobbit presentations later this year to see the full potential of the media.

Another technical issue is the varied ways in which bit rate is measured. We saw at NAB and CinemaCon this year that most manufacturers of D-cinema projection equipment now stream 48 fps data at aggregate speeds of 500 Mbps. However, this does not necessarily mean that all the internal independent components within the JPEG 2000 codestream, each of which may have limitations, can run at bit rates of 500 Mbps. DCP providers need to be aware that these limitations exist when making decisions about mastering. We will need to ensure that manufacturers report both aggregate and component bit rates.

An interesting dilemma that has not yet been solved is what to do with content of different speeds played in the same show. Servers and projectors will behave differently when switching between content with different frame rates and this can lead to viewing problems. What if a 24 fps trailer is played before a 48 fps presentation of The Hobbit? We will need to hear from exhibitors and content owners about want they want to provide in terms of an acceptable user experience. The Inter-Society Digital Cinema Forum (ISDCF) is aware of this problem and has been conducting tests with various manufacturers and content owners involved.

One major limitation to implementing HFR stereo 3D that we have solved is that of moving data at sufficient speeds from server to projector. This has been accomplished by swapping the HD-SDI cable for an Ethernet connection, as well as embedding IMBs in projectors. IMBs have now become industry-standard equipment shipped with all servers, and a necessary part of any new spec. Coupled with improvements in Series 2 projectors, including image brightness, the IMB’s increased speeds will certainly enhance image quality and alleviate some of the viewer discomfort during stereo 3D projection.

How Qube handles these challenges

The Qube XP-I server is capable of a bit rate of 1 Gbps, while each Xi IMB can handle up to 500 Mbps, with no component bit rate limitation. This is in keeping with current storage throughput and image decoder specs. Qube servers have the same component and aggregate bit rates.

The Qube XP-I server and Xi IMB are capable of frame rates up to 120 fps per eye. This gives a frame rate of up to 240 fps for dual projection driven by a single server streaming a single DCP for stereo 3D.

Qube has also shown that exhibition of 4K 3D content on Giant Screens is possible from a single XP-I server, streaming data at 1 Gbps and 30 fps to dual synchronized ultra-bright projectors. This greatly enhances the 3D viewing experience at Giant Screen venues.

When updating digital cinema specifications, we should aim high with respect to HFR in anticipation of where filmmakers might go. In this way we will be future proofing the next set of standards.

Rajesh Ramachandran is the CTO of Qube Cinema.

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)

Higgs!…and other summer distractions

24 July – Yellow Jacket iPhone stun gun case — Indiegogo – One wonders if you can get some extra time from the stun battery?

 

23 July – Maximum PC | White Paper: OLED Screens; Lot of data about something that could have been years ago, but which is quickly going to be happening…

4 July – All United States will mass together and explode fireworks today, as Higgs has been found. (Most didn’t know she was lost.)

For music fun today: 100 Riffs (A Brief History of Rock and Roll

OK, for explaining Higgs: What is the Higgs boson? – video | Science | guardian.co.uk

I don’t see it anywhere, but I understand that this field…these particles in this Higgs Field were described in an article written a couple decades ago for some Time or Newsweek like magazine. The scientist called the article something along the lines of “Searching for that God Damn Particle”. The editor, fearing the wrath of mouth-breathers everywhere renamed it “The Search for the God Particle”

1 July – The father of wife Frederique, Bernard Peiffer, has had a 2 album set released…great tunes:

Improvision: Bernard Peiffer: Amazon.fr: Improvisions

Fredy’s father played with the greats, from Django to Torme and dozens of others in between including solo at Carnegie Hall.

22 June – What is OLED TV? | TV and Home Theater – CNET Reviews – hat tip Mark Schubin

Is Condition One the future of video? Mark Cuban thinks so – hat tip Mark Schubin

27 May – Staples eReader interactive infographic – Doesn’t sound as fun as it is; tests your reading skills.

22 May – Rachele Gilmore’s 100 MPH Fastball – Andy Ihnatko’s Celestial Waste of Bandwidth (BETA)

20 May – 99% Invisible-50- DeafSpace by Roman Mars

17 May – 700 Opening Traps – Bill Wall from Bill Wall Chess Resources

16 May

The Second Circuit Reverses Conviction of Computer Programmer and Holds that Theft of Intellectual Property Is Not Necessarily Criminal – Hat tip to: 1st Joe Wojdacz | Disruptive Innovationist

JD Supra Buzz! — Can an API Be Copyrighted?

Inventors Should File Patent Applications As Soon As Possible | Fox Rothschild – JDSupra

 

What is Missing?

Classic Think Different

Think Different’s The Crazy Ones

{youtube width=”600″ height=”360″}8rwsuXHA7RA{/youtube}

The campaign was made almost entirely in-house by the team at TBWA Chiat/Day, Los Angeles:

Lee Clow, Chairman and Chief Creative Officer Worldwide, Account Director

Creative Directors: Ken Segall, Rob Siltanen, Eric Grunbaum, Amy Moorman.

Jennifer Golub, Executive Producer & Director, Art Director

Art directors: Jessica Schulman, Margaret Midgett, Ken Younglieb, Bob Kuperman, Yvonne Smith, Susan Alinsangan.

Copywriter: Craig Tanimoto.

Dan Bootzin, Senior Editor of the in-house arm, Venice Beach Editorial.

Stock Photo and Film research was carried out by Susan Nickerson, owner and head stock-footage researcher with Nickerson Research.

In 1998 the television spot won the second annual primetime Emmy Award for best commercial from the Academy of Television Arts & Sciences (ATAS). The ad also won a Belding, a Silver Lion at Cannes. The long term campaign won an Effie award for marketing effectiveness.

Stephanie Clarkson has had a desktop image page based on the ad, since it aired in 1997. She gives biographical details for each of the people featured in “Think Different #1”. Think different: Desktop Pictures (The last picture is un-noted, but she is the daughter of director Tarsem Singh, who is the featured bicycle rider on the Deep Forest Sweet Lullaby video.)

Richard Dreyfuss reads the voiceover in the most well known version:

Here’s to the Crazy Ones.

The misfits.

The rebels.

The troublemakers.

The round pegs in the square holes.

The ones who see things differently.

They’re not fond of rules.

And they have no respect for the status quo.

You can quote them, disagree with them, disbelieve them, glorify or vilify them.

About the only thing that you can’t do, is ignore them.

Because they change things.

They invent. They imagine. They heal.

They explore. They create. They inspire.

They push the human race forward.

Maybe they have to be crazy.

How else can you stare at an empty canvas and see a work of art?

Or, sit in silence and hear a song that hasn’t been written?

Or, gaze at a red planet and see a laboratory on wheels?

We make tools for these kinds of people.

While some may see them as the crazy ones, we see genius.

Because the ones who are crazy enough to think that they can change the world, are the ones who do.

Think Different #1 featured the following footage:

Albert Einstein, smoking a pipe

Bob Dylan, moving to his harmonica

Martin Luther King, at the end of his Washington speech

Richard Branson, shaking champagne

John Lennon and Yoko Ono singing

Buckminster Fuller demonstrating the Bucky Ball

Thomas Edison thinking

Mohammed Ali dancing for the press

Ted Turner boxing the air with a smile

Maria Callas blowing a kiss

Mahatma Gandhi smiling

Amelia Earhart arriving

Alfred Hitchcock speaking

Martha Graham dancing

Jim Henson puppeteering

Frank Lloyd Wright walking by his home

Picasso painting

A child dreaming

A bit of the background

Steve Jobs had just returned to the struggling company, Apple. Jobs and Lee Clow had collaborated back in 1984 to launch the MacIntosh.

Now was the time to recover the sene of Apple’s place in the world of creative users. The TBWA Chiat/Day team said that Apple should be aligned with the creativity of personalities and people making an impact on the twentieth century. The “Think Different” phrase provided an opportunity to celebrate both the creativity of these people but also the distinctiveness of Apple in the computing world, responding to IBM’s historic campaign motto, “Think”. The campaign was swiftly approved by Apple, then begun with the television commercial, which first ran on Sept. 28 1997, followed by the print ads, billboards and posters.

According to the extinct site: http://tvadverts.blogspot.com/2005/10/apple-think-different.html

Higgs!…and other summer distractions

24 July – Yellow Jacket iPhone stun gun case — Indiegogo – One wonders if you can get some extra time from the stun battery?

 

23 July – Maximum PC | White Paper: OLED Screens; Lot of data about something that could have been years ago, but which is quickly going to be happening…

4 July – All United States will mass together and explode fireworks today, as Higgs has been found. (Most didn’t know she was lost.)

For music fun today: 100 Riffs (A Brief History of Rock and Roll

OK, for explaining Higgs: What is the Higgs boson? – video | Science | guardian.co.uk

I don’t see it anywhere, but I understand that this field…these particles in this Higgs Field were described in an article written a couple decades ago for some Time or Newsweek like magazine. The scientist called the article something along the lines of “Searching for that God Damn Particle”. The editor, fearing the wrath of mouth-breathers everywhere renamed it “The Search for the God Particle”

1 July – The father of wife Frederique, Bernard Peiffer, has had a 2 album set released…great tunes:

Improvision: Bernard Peiffer: Amazon.fr: Improvisions

Fredy’s father played with the greats, from Django to Torme and dozens of others in between including solo at Carnegie Hall.

22 June – What is OLED TV? | TV and Home Theater – CNET Reviews – hat tip Mark Schubin

Is Condition One the future of video? Mark Cuban thinks so – hat tip Mark Schubin

27 May – Staples eReader interactive infographic – Doesn’t sound as fun as it is; tests your reading skills.

22 May – Rachele Gilmore’s 100 MPH Fastball – Andy Ihnatko’s Celestial Waste of Bandwidth (BETA)

20 May – 99% Invisible-50- DeafSpace by Roman Mars

17 May – 700 Opening Traps – Bill Wall from Bill Wall Chess Resources

16 May

The Second Circuit Reverses Conviction of Computer Programmer and Holds that Theft of Intellectual Property Is Not Necessarily Criminal – Hat tip to: 1st Joe Wojdacz | Disruptive Innovationist

JD Supra Buzz! — Can an API Be Copyrighted?

Inventors Should File Patent Applications As Soon As Possible | Fox Rothschild – JDSupra

 

What is Missing?

Classic Think Different

Think Different’s The Crazy Ones

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The campaign was made almost entirely in-house by the team at TBWA Chiat/Day, Los Angeles:

Lee Clow, Chairman and Chief Creative Officer Worldwide, Account Director

Creative Directors: Ken Segall, Rob Siltanen, Eric Grunbaum, Amy Moorman.

Jennifer Golub, Executive Producer & Director, Art Director

Art directors: Jessica Schulman, Margaret Midgett, Ken Younglieb, Bob Kuperman, Yvonne Smith, Susan Alinsangan.

Copywriter: Craig Tanimoto.

Dan Bootzin, Senior Editor of the in-house arm, Venice Beach Editorial.

Stock Photo and Film research was carried out by Susan Nickerson, owner and head stock-footage researcher with Nickerson Research.

In 1998 the television spot won the second annual primetime Emmy Award for best commercial from the Academy of Television Arts & Sciences (ATAS). The ad also won a Belding, a Silver Lion at Cannes. The long term campaign won an Effie award for marketing effectiveness.

Stephanie Clarkson has had a desktop image page based on the ad, since it aired in 1997. She gives biographical details for each of the people featured in “Think Different #1”. Think different: Desktop Pictures (The last picture is un-noted, but she is the daughter of director Tarsem Singh, who is the featured bicycle rider on the Deep Forest Sweet Lullaby video.)

Richard Dreyfuss reads the voiceover in the most well known version:

Here’s to the Crazy Ones.

The misfits.

The rebels.

The troublemakers.

The round pegs in the square holes.

The ones who see things differently.

They’re not fond of rules.

And they have no respect for the status quo.

You can quote them, disagree with them, disbelieve them, glorify or vilify them.

About the only thing that you can’t do, is ignore them.

Because they change things.

They invent. They imagine. They heal.

They explore. They create. They inspire.

They push the human race forward.

Maybe they have to be crazy.

How else can you stare at an empty canvas and see a work of art?

Or, sit in silence and hear a song that hasn’t been written?

Or, gaze at a red planet and see a laboratory on wheels?

We make tools for these kinds of people.

While some may see them as the crazy ones, we see genius.

Because the ones who are crazy enough to think that they can change the world, are the ones who do.

Think Different #1 featured the following footage:

Albert Einstein, smoking a pipe

Bob Dylan, moving to his harmonica

Martin Luther King, at the end of his Washington speech

Richard Branson, shaking champagne

John Lennon and Yoko Ono singing

Buckminster Fuller demonstrating the Bucky Ball

Thomas Edison thinking

Mohammed Ali dancing for the press

Ted Turner boxing the air with a smile

Maria Callas blowing a kiss

Mahatma Gandhi smiling

Amelia Earhart arriving

Alfred Hitchcock speaking

Martha Graham dancing

Jim Henson puppeteering

Frank Lloyd Wright walking by his home

Picasso painting

A child dreaming

A bit of the background

Steve Jobs had just returned to the struggling company, Apple. Jobs and Lee Clow had collaborated back in 1984 to launch the MacIntosh.

Now was the time to recover the sene of Apple’s place in the world of creative users. The TBWA Chiat/Day team said that Apple should be aligned with the creativity of personalities and people making an impact on the twentieth century. The “Think Different” phrase provided an opportunity to celebrate both the creativity of these people but also the distinctiveness of Apple in the computing world, responding to IBM’s historic campaign motto, “Think”. The campaign was swiftly approved by Apple, then begun with the television commercial, which first ran on Sept. 28 1997, followed by the print ads, billboards and posters.

According to the extinct site: http://tvadverts.blogspot.com/2005/10/apple-think-different.html

…Like Tangents In Rain