HOLLYWOOD IN THE CLOUDWhat is it? Where is it? Should we use it?

HPA Tech RetreatFebruary 17, 2011

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Consumers are driving change, and the industry is responding• Consumers want to

– Control when, where, and how content is consumed– Participate in creation of content– Interact socially– View HD, 3D, and rich media—on 3 screens

• And the media industry is responding by– Creating original content in digital form– Accelerating transition to HD and 3D– Looking to new media for additional revenue streams– Utilizing new distribution channels that undercut existing models– Acquiring or owning content management environments– Finding new methods for interaction with content– Reaching a level where all consumption is digital

Today’s media landscape

• Media management and delivery from cloud (Hula, Netflix, etc.)

• Wireless broadband IPTV (WiMAX, LTE)

• P2P-enabled CDN, SIP for IPTV Signaling, VOD via RTSP

Network-based services

• TV sets (home networks, UPnP-embedded IPTV clients)

• HD whole-home DVRs• Media center TVs

(software plug-ins)

Integrated IP-based TV devices

Media is moving to the network edge

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More network-centricMore device-centric

• Set-top boxes• Whole-home DVRs• Place-shifting

devices (SlingBox, HAVA)

• Hybrid content feed• DVD, Blu-ray

“All-in-one” devices &Packaged Media

Current Media Trends

Changing operational and business models

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• Operational needs– Changes in production processes– More storage and compute services– More flexible digital distribution systems– Better understanding of customer across all

business units– Increased use of business intelligence

• Business needs– New methods to monetize assets– Lowered operating costs– Better use of available capital

Challenges in the new media landscape

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Relatively short history…• 1990 - The Rescuers Down Under

– First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Corporation and Pixar's CAPS system.

• 1993 - Snow White and the Seven Dwarfs– First film to be entirely scanned to digital files, manipulated, and recorded back to film. The restoration project was

done entirely at 4K resolution and 10-bit color depth using the new Cineon system to digitally remove dirt and scratches and restore faded colors.

• 1998 - Pleasantville– The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-

white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution.

• 2000 - O Brother, Where Art Thou?– The first time a digital intermediate was used on the entirety of a first-run Hollywood film which otherwise had very

few visual effects. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution, a Pandora MegaDef to adjust the color and a Kodak Lightning II recorder to output to film.[4]

• 2004 - Spider-Man 2– The first digital intermediate on a new Hollywood film to be done entirely at 4K resolution. Although scanning, recording, and color-

correction was done at 4K by EFilm, most of the visual effects were created at 2K and were upscaled to 4K.

Transition from Film to Digital

Format Creator Est. First Known Work Negative Gauge Aspect RatioChronophotographe Etienne-Jules Marey 1888 motion analysis studies 90 mm 1

Paperfilm Louis Le Prince 1888 Roundhay Garden Scene 54 mm or 63.5 mm 1

Theatre Optique Emile Reynaud 1888 Pauvre Pierrot Chronophotographic Wm. Friese-Greene 1889 54 mm Kinesigraph Wordsworth Donisthorpe 1889 view of Trafalgar Square 68 mm 1.00?

Kinetoscope cylinder Wm. Dickson & T. Edison 1889 or 1890 Monkeyshines, No. 1 cylinder strip

Kinetoscope horizontal Wm. Dickson & William Heise 1891 Dickson Greeting 19 mm

Silent film standard Wm. Dickson & T. Edison 1892 Blacksmith Scene 35 mm 1.33

Bioskop Max Skladanowsky 1892 footage of Emil Skladanowsky 54 mm

Acres 70 Birt Acres 1894 The Henley Royal Regatta of 1894 70 mm 1.38

Eidoloscope Woodville Latham 1895 Griffo-Barnett Prize Fight 51 mm 1.85Cinematographe Lumiere Brothers 1895 La Sortie des Usines Lumiere 35 mm 1.33

Biograph Herman Casler 1895 Sparring Contest at Canastota 68 mm 1.35

Joly-Normandin Henri Joly 1895 60 mm Biographe Demeny-Gaumont 1896 60 mm 1.4Chronophotographe Demeny-Gaumont 1896 60 mm 1.4Sivan-Dalphin Casimir Sivan and E. Dalphin 1896 38 mm Veriscope Enoch Rector 1897 Corbett-Fitzsimmons fight 63 mm 1.66Viventoscope Thomas Henry Blair 1897 48 mm 1.5Birtac Birt Acres 1898 unknown (amateur format) 17.5 mm Biokam T. C. Hepworth 1899 unknown (amateur format) 17.5 mm 1.6Prestwich 13 mm John Alfred Prestwich 1899 unknown (amateur format) 13 mm Mirograph Reulos, Goudeau & Co 1900 unknown (amateur format) 21 mm Lumiere Wide Lumiere Brothers 1900 75 mm 1.33

Cineorama R. Grimoin-Sanson 1900 Cineorama 70 mm x 10 cameras

La Petite (Hughes) W.C. Hughes 1900 unknown (amateur format) 17.5 mm 1.6Pocket Chrono Gaumont Demeny 1900 unknown (amateur format) 15 mm Vitak William Wardell 1902 unknown (amateur format) no standard no standard Home Kinetoscope Edison 1912 unknown (amateur format) no standard no standard Pathe Kok Pathé 1912 unknown (amateur format) 28 mm 1.36Duoscope Alexander F. Victor 1912 unknown (amateur format) 17.5 mm Panoramico Filoteo Alberini 1914 Il sacco di Roma 70 mm 2.52Split Duplex Duplex Corporation 1915 35 mm 1.3311 mm (American) 1916 unknown (amateur format) 11 mm Movette Movette Camera Company 1917 unknown (amateur format) 17.5 mm 28 mm safety standard Alexander Victor 1918 unknown (amateur format) 28 mm 1.36Clou (Austrian) 1920 unknown (amateur format) 17.5 mm 26 mm (French) 1920 unknown (amateur format) 26 mm 9.5 mm Pathé 1922 unknown (amateur format) 9.5 mm 1.31

Phonofilm Lee De Forest 1922 Barking Dog, Flying Jenny Airplane 35 mm 1.33

Widescope John D. Elms & George W. Bingham 1922 35 mm x 2 0.980" x

0.735" Cinebloc Ozaphan 1922 unknown (amateur format) 22 mm Tri-Ergon soundfilm Tri-Ergon 1922 35 mm 1.3316 mm Eastman Kodak 1923 unknown (amateur format) 16 mm 1.37Duplex G.J. Bradley 1923 unknown (amateur format) 11 mm Alberini-Hill Corrado Cerqua 1924 35 mm 1.66Cinelux Ozaphan 1924 unknown (amateur format) 24 mm 48 mm J.H. Powrie 1924 48 mm 1.32

Natural Vision George K. Spoor & P. John Berggren 1925 Niagara Falls and

Rollercoaster Ride 63.5 mm 1.84

13 mm (French) 1925 unknown (amateur format) 13 mm 18 mm (Russian) 1925 unknown (amateur format) 18 mm Pathe Rural Pathé 1926 unknown (amateur format) 17.5 mm 1.35

Widevision John D. Elms & George W. Bingham 1926 Natural Vision Pictures 57 mm

Magnascope Lorenzo del Riccio 1926 Old Ironsides 35 mm 1.33

Fox Movietone F. H. Owens, T. Case, Tri-Ergon 1927 Sunrise 35 mm 1.33

Polyvision Abel Gance 1927 Napoléon 35 mm x 3 cameras 1.33 x 3 negs

Hypergonar Henri Chretien 1927 Pour construire un feu 35 mm 2.66Magnafilm Lorenzo del Riccio 1929 You're in the Army Now 56 mm 2.19

Fox Grandeur Fox Film Corporation 1929 Fox Grandeur News Movietone Follies of 1929 70 mm 2.07

Fearless Super Pictures Ralph G. Fear 1929 35 mm 2.27Fearless Super-Film / Magnifilm / Fox Vitascope Ralph G. Fear 1930 Kismet 65 mm 2

Realife MGM 1930 Billy the Kid 70 mm 2.0750 mm Fox Film Corporation & SMPE 1930 50 mm 1.817 mm sound (French) 1930 unknown (amateur format) 17 mm Giant Expanding Pictures George Palmer 1930 35 mm 1.33Kodel Kemco Homovie Clarence Ogden 1931 unknown (amateur format) 16 mm Academy format AMPAS 1932 35 mm 1.378 mm Eastman Kodak 1932 unknown (amateur format) 16 mm 1.32Straight 8 Bell and Howell 1935 unknown (amateur format) 8 mm 1.32

Vitarama Fred Waller 1939 16 mm x 11 cameras

1.37 x 11 negs

Waller Flexible Gunnery Trainer Fred Waller 1943 US Air Force training exercise 35 mm x 5 cameras 1.37 x 5 negs

Cinerama Fred Waller 1952 This is Cinerama 35 mm x 3 cameras

2.59 (3 x negs)

Matted 1.66 Paramount 1953 Shane 35 mm 1.37Matted 1.85 Universal 1953 Thunder Bay 35 mm 1.37Matted 1.75 MGM 1953 Arena 35 mm 1.37Cinemascope 20th Century Fox 1953 The Robe 35 mm 2.55 & 2.37Arnoldscope John Arnold 1953 35 mm VistaVision Paramount 1954 White Christmas 35 mm 1.51VistaVision Large Area Paramount 1954 White Christmas 35 mm 1.51Superscope Tushinsky Brothers 1954 Vera Cruz 35 mm 1.33

Circarama Disney 1955 A Tour of the West 16 mm x 11 cameras

1.37 x 11 negs

Todd A.O. Michael Todd 1955 Oklahoma 65 mm 2.29Cinemascope 55 20th Century Fox 1955 Carousel 55 mm 2.559.5 Duplex Pathé Fréres 1955 ? 9.5 mm 1.518 mm Panoramic Dimaphot, Paris 1955 ? 16 mm 1.5Emel Panoscope Emel, Paris 1955 ? 16 mm 2.7Technirama Technicolor 1956 The Monte Carlo Story 35 mm 2.26Technirama Large Area Technicolor 1956 The Monte Carlo Story 35 mm 2.26

Dynamic Frame Glenn Alvey 1956 The Door in the Wall 35 mm 1.3, 1.6, & 2.5

Superscope 235 Superscope Inc. 1956 Run for the Sun 35 mm 1.33

Thrillarama Albert H. Reynolds 1956 Thrillarama Adventure 35 mm x 2 cameras 1.78 x 2 negs

Magirama Abel Gance 1956 Magirama 35 mm x 3 cameras 1.33 x 3 negs

MGM Camera 65 Panavision 1957 Raintree County 65 mm 2.93Ultra Panavision Panavision 1962 Mutiny on the Bounty 65 mm 2.76Cinestage Mike Todd 1957 Around the World in 80 Days 65 mm 2.29Rank VistaVision J. Arthur Rank Organization 1957 35 mm 1.51Modern anamorphic Panavision 1958 The Female Animal 35 mm 2.37

Kinopanorama NIKFI 1958 Great Is My Country 35 mm x 3 cameras 0.91 x 3 negs

70 mm American Optical Company 1958 South Pacific 65 mm 2.28

Cinemiracle National Theatres 1958 Windjammer 35 mm x 3 cameras 0.89 x 3 negs

Super Technirama Technicolor 1959 Sleeping Beauty 35 mm 2.26

Smith-Carney System Rowe E. Carney Jr. and Tom F. Smith 1959 Missouri travelogue 35 mm 4.69

Circular Kinopanorama / Circlorama E. Goldovsky 1959 The Path of Spring 35 mm x 11 cameras

1.37 x 11 negs

Varioscope Jan Jacobsen 1959 Flying Clipper 65 mm 2.28

Quadravision Ford Motor Company 1959 Design for Suburban Living ? mm x 4 cameras ? x 4 negs

Techniscope Technicolor 1960 The Pharaoh's Woman 35 mm 2.33Wonderama (Arc 120) Leon W. Wells 1960 Honeymoon no standard no standard Cine System 3 Eric Berndt 1960 USAF and NASA usage 3 mm Grandeur 70 20th Century Fox 1961 The King and I (re-release) 55 mm 2.55Cinerama 360 Cinerama Corporation 1962 Journey to the Stars 65 mm 1.00 (circle) Super 8 Eastman Kodak 1965 unknown (amateur format) 8 mm 1.48Real Sound Kenner 1965 no standard no standard Double Super 8 Eastman Kodak 1965 unknown (amateur format) 16 mm 1.48Single-8 Fujifilm 1966 unknown (amateur format) 8 mm 1.36Dimension 150 American Optical Company 1966 The Bible: In the Beginning 65 mm 2.28

Circle Vision 360 Disney 1967 America the Beautiful 35 mm x 9 cameras 1.37 x 9 negs

8.75 mm Shanghai Film Projection 1968 unknown (amateur format) Astrovision Goto Optical 1969 65 mm IMAX IMAX Corporation 1970 Tiger Child 70 mm 1.34Super 16 mm film Rune Ericson 1970 Blushing Charlie 16 mm 1.66Pik-a-Movie Leon W. Wells 1972 no standard no standard OMNIMAX IMAX Corporation 1973 Garden Isle 70 mm 1.348/70 (Dynavision, Iwerks 870) Dynavision 1973? 65 mm 1.37Showscan Douglas Trumbull 1978 Night of Dreams 65 mm 2.28Polavision Polaroid Corporation 1978 unknown (amateur format) 8 mm 1.48Cinema 180 Omni Films 1979 Crazy Wheels 65 mm 2.28Super 35 Joe Dunton 1982 Dance Craze 35 mm 1.33

Circle Vision 200 Disney 1982 Impressions de France 35 mm x 5 cameras 1.37 x 5 negs

Swissorama 360 / Imagine 360 Ernst A. Heiniger 1984 Impressions of Switzerland 65 mm 360° Super Duper 8 / Max 8 / Super 8B Mitch Perkins & Greg Miller mid-1980s Sleep Always (2002) 8 mm 1.513-perf Rune Ericson 1987 Pirates of the Lake 35 mm 1.79Super VistaVision Paramount 1989 The Ten Commandments 35 mm 1.51Kinoton HDFS Kinoton 1990 no standard no standard

IMAX Magic Carpet IMAX Corporation 1990 Flowers in the Sky 70 mm x 2 cameras 1.34

Iwerksphere Iwerks 1991 65 mm 1.37IMAX HD IMAX Corporation 1992 Asteroid Adventure 70 mm 1.34

Hexiplex (Australian) 1992 Expo '92 demo 35 mm x 6 cameras 1.37 x 6 negs

Ultra Toruscope Mac McCarney 1992 35 mm x 3 cameras 1.37 x 3 negs

Imagination FX 7012 Geo-Odyssey 1992 35 mm 2.08Univisium Vittorio Storaro 1998 Tango 35 mm 2Maxivision Dean Goodhill 1999 35 mm 1.79Maxivision 48 Dean Goodhill 1999 35 mm 1.79Super Dimension 70 Robert Weisgerber 1999 65 mm 2.28FuturVision 360 65 mm 1.52Mini-Max Vistascope 35 mm 2.66MotionMaster Omni Films 65 mm 2.28Row-film R. Thun 35 mm Septorama ? mm x 7 cameras 1.33 x 7 negs Single Cinerama Fred Waller 35 mm

Film formats150 formats over 120 years

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Other than the things that rain & snowflakes come from…

Cloud computing is a model for enabling convenient, on-demand network access to a shared pool of configurable computing resources (e.g., networks, servers, storage, applications, and services) that can be rapidly provisioned and released with minimal management effort or service provider interaction. (NIST)

What is Cloud?

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Fluffy, grey, wet…

Source: NIST

• On-demand self-service– A consumer can unilaterally provision computing capabilities, such as server time and network

storage, as needed automatically without requiring human interaction with each service’s provider. • Broad network access

– Capabilities are available over the network and accessed through standard mechanisms that promote use by heterogeneous thin or thick client platforms (e.g., mobile phones, laptops, and PDAs).

• Resource pooling– The provider’s computing resources are pooled to serve multiple consumers using a multi-tenant

model, with different physical and virtual resources dynamically assigned and reassigned according to consumer demand.

• Rapid elasticity– Capabilities can be rapidly and elastically provisioned, in some cases automatically, to quickly scale

out and rapidly released to quickly scale in• Measured Service

– Cloud systems automatically control and optimize resource use by leveraging a metering capability at some level of abstraction appropriate to the type of service

Cloud – Essential Characteristics

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Cirrus, Cumulus, Nimbostratus…• Private cloud

– The cloud infrastructure is operated solely for an organization. It may be managed by the organization or a third party and may exist on premise or off premise.

• Community cloud– The cloud infrastructure is shared by several organizations and supports a specific community that has shared

concerns (e.g., mission, security requirements, policy, and compliance considerations). It may be managed by the organizations or a third party and may exist on premise or off premise.

• Public cloud– The cloud infrastructure is made available to the general public or a large industry group and is owned by an

organization selling cloud services.

• Hybrid cloud– The cloud infrastructure is a composition of two or more clouds (private, community, or public) that remain unique

entities but are bound together by standardized or proprietary technology that enables data and application portability (e.g., cloud bursting for load-balancing between clouds).

Different Clouds?

Source: NIST

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• Steve Poehlein

• Howard Lukk• Kurt Kyle• Steve Mannel• Al Kovalick• Dan Lin

Today’s PanelDirector, Media & Entertainment Solutions, HP Enterprise

Services

Vice President, Production Technology, Walt Disney StudiosIndustry Principal, Media & Entertainment, SAP America, IncGlobal Industry Executive, Media & Communications,

Salesforce.comFellow and Strategist, AVIDChief System Architect, Deluxe Entertainment Services

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“Movie studios have been moving into virtual business models for many years. The days in which studios owned the lot, and the actors, and the theatres are long gone. And so, cloud computing technologies, which are, in a way, enabling virtualization of businesses, it’s a very nice fit with the way that studios think about their businesses currently” – Ben Pring, Gartner Cloud Analyst

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“There’s no question that the future of the cloud is going to be a big part of how IT gets delivered to companies like DreamWorks Animation. The cloud is going to enable us to think more about our core business and to rely on companies like HP to provide solutions for the things that we just need to work, but we don’t want to focus on as an animation company” – Ed Leonard, CTO DreamWorks

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We’ve done this before…• Cloud Software as a Service (SaaS)

– The capability provided to the consumer is to use the provider’s applications running on a cloud infrastructure. The applications are accessible from various client devices through a thin client interface such as a web browser (e.g., web-based email). The consumer does not manage or control the underlying cloud infrastructure including network, servers, operating systems, storage, or even individual application capabilities.

• Cloud Platform as a Service (PaaS)– The capability provided to the consumer is to deploy onto the cloud infrastructure consumer-created

or acquired applications created using programming languages and tools supported by the provider. The consumer does not manage or control the underlying cloud infrastructure including network, servers, operating systems, or storage, but has control over the deployed applications and possibly application hosting environment configurations.

• Cloud Infrastructure as a Service (IaaS)– The capability provided to the consumer is to provision processing, storage, networks, and other

fundamental computing resources where the consumer is able to deploy and run arbitrary software, which can include operating systems and applications. The consumer does not manage or control the underlying cloud infrastructure but has control over operating systems, storage, deployed applications, and limited control of select networking components.

Service Models

Source: NIST

THANK YOU

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Steve PoehleinHP Enterprise Services

steve.poehlein@hp.com

“I really don’t know clouds at all,” – Joni Mitchell