Enjeux de la Réalité Virtuelle 15 avril 2017Marc Bourhis
Présentation des enjeux économiques, techniques et créatifs de la Réalité Virtuelle réalisée le 15 avril 2017 pour un keynote lors du festival 01 à La Rochelle
Formation à la Réalité Virtuelle - La Plateforme 1er décembre 2016Marc Bourhis
Présentation de la Formation à la Réalité Virtuelle lors de la Journée de la formation continue organisée par la Plateforme audiovisuelle des PDL le 1er décembre 2016.
Livre blanc visant à mieux faire comprendre la problématique des producteurs de spectacles et de programmes audiovisuels vis à vis du projet de réallocation de la bande des 700 MHz à la téléphonie 4G
Enjeux de la Réalité Virtuelle 15 avril 2017Marc Bourhis
Présentation des enjeux économiques, techniques et créatifs de la Réalité Virtuelle réalisée le 15 avril 2017 pour un keynote lors du festival 01 à La Rochelle
Formation à la Réalité Virtuelle - La Plateforme 1er décembre 2016Marc Bourhis
Présentation de la Formation à la Réalité Virtuelle lors de la Journée de la formation continue organisée par la Plateforme audiovisuelle des PDL le 1er décembre 2016.
Livre blanc visant à mieux faire comprendre la problématique des producteurs de spectacles et de programmes audiovisuels vis à vis du projet de réallocation de la bande des 700 MHz à la téléphonie 4G
The 3D film T.S. Spivet was produced using a 3D rig with two Alexa M cameras that recorded Arri Raw files to Codex recorders on location. Dailies were screened in 3D and graded live using Mistika. Files were backed up to Quantum tape drives and sent to the server via optical fiber. In postproduction, the files were conformed and color graded in 2D and 3D using Mistika and Colorfront before being rendered and distributed in various formats including DCP, Blu-ray, DVD, broadcast, and internet.
This document provides production information for a 3D film titled "T.S. Spivet". It was filmed in France and used an Arri Alexa M camera to capture footage in Arri Raw format for a 3D film.
This document provides production details for the 3D film "T.S. Spivet" directed by Jean-Pierre Jeunet. It lists the director, producers, post-production manager, cinematographer, stereographer, and technical roles involved in the workflow.
Présentation des différents standards de fichiers Mezzanine_AtelierFocusInnov...Marc Bourhis
This document discusses different file formats for mastering, mezzanine, and archive files, focusing on MXF and IMF formats. It provides an overview of several SMPTE Application Specifications (AS) for MXF, including AS-02, AS-03, AS-07, AS-10, and AS-11. Each AS is summarized in a table describing its workflow, status, operational pattern, partitioning, video/audio specifications, and sponsor. The document also discusses the Digital Cinema Package (DCP) and Interoperable Master Format (IMF) specifications. It argues that MXF with JPEG 2000 compression is a suitable format for digital film archives, as it supports evolutions to higher resolutions like 4K
Introduction Atelier Focus Innovation du 06 02 2014 consacré à la Dématériali...Marc Bourhis
Introduction de la journée d'Atelier Focus Innovation organisée le 06 02 2014 et consacrée à la Dématérialisation des contenus dans la filière Cinéma et la convergence des Workflows IT
1) The document discusses the growing need for large scale data storage solutions for professional video content due to increasing resolutions, frame rates, and number of cameras producing massive amounts of data.
2) It examines how Linear Tape-Open (LTO) tape storage using the Linear Tape File System (LTFS) can provide a cost effective solution for archiving and preserving large video libraries while still enabling online access to content.
3) Case studies of production companies and media organizations like Major League Baseball that have implemented LTO tape-based active archive solutions from Crossroads Systems are presented to illustrate how they meet workflow needs for protection, accessibility and scalability.
The document discusses key trends in the media and entertainment industry that are driving the need for cloud-based infrastructure solutions. It notes that the introduction of new devices like tablets and smart TVs are resulting in more video consumption on multiple connected screens. This is leading to rapid growth in video traffic. The emergence of cloud-based online video services is also contributing to these trends. The document advocates that media companies evolve towards cloud solutions to gain benefits like flexibility, ability to share and scale capacity, and deliver high quality experiences through a common infrastructure. It outlines some potential cloud use cases and challenges in deploying cloud for media workflows.
The 3D film T.S. Spivet was produced using a 3D rig with two Alexa M cameras that recorded Arri Raw files to Codex recorders on location. Dailies were screened in 3D and graded live using Mistika. Files were backed up to Quantum tape drives and sent to the server via optical fiber. In postproduction, the files were conformed and color graded in 2D and 3D using Mistika and Colorfront before being rendered and distributed in various formats including DCP, Blu-ray, DVD, broadcast, and internet.
This document provides production information for a 3D film titled "T.S. Spivet". It was filmed in France and used an Arri Alexa M camera to capture footage in Arri Raw format for a 3D film.
This document provides production details for the 3D film "T.S. Spivet" directed by Jean-Pierre Jeunet. It lists the director, producers, post-production manager, cinematographer, stereographer, and technical roles involved in the workflow.
Présentation des différents standards de fichiers Mezzanine_AtelierFocusInnov...Marc Bourhis
This document discusses different file formats for mastering, mezzanine, and archive files, focusing on MXF and IMF formats. It provides an overview of several SMPTE Application Specifications (AS) for MXF, including AS-02, AS-03, AS-07, AS-10, and AS-11. Each AS is summarized in a table describing its workflow, status, operational pattern, partitioning, video/audio specifications, and sponsor. The document also discusses the Digital Cinema Package (DCP) and Interoperable Master Format (IMF) specifications. It argues that MXF with JPEG 2000 compression is a suitable format for digital film archives, as it supports evolutions to higher resolutions like 4K
Introduction Atelier Focus Innovation du 06 02 2014 consacré à la Dématériali...Marc Bourhis
Introduction de la journée d'Atelier Focus Innovation organisée le 06 02 2014 et consacrée à la Dématérialisation des contenus dans la filière Cinéma et la convergence des Workflows IT
1) The document discusses the growing need for large scale data storage solutions for professional video content due to increasing resolutions, frame rates, and number of cameras producing massive amounts of data.
2) It examines how Linear Tape-Open (LTO) tape storage using the Linear Tape File System (LTFS) can provide a cost effective solution for archiving and preserving large video libraries while still enabling online access to content.
3) Case studies of production companies and media organizations like Major League Baseball that have implemented LTO tape-based active archive solutions from Crossroads Systems are presented to illustrate how they meet workflow needs for protection, accessibility and scalability.
The document discusses key trends in the media and entertainment industry that are driving the need for cloud-based infrastructure solutions. It notes that the introduction of new devices like tablets and smart TVs are resulting in more video consumption on multiple connected screens. This is leading to rapid growth in video traffic. The emergence of cloud-based online video services is also contributing to these trends. The document advocates that media companies evolve towards cloud solutions to gain benefits like flexibility, ability to share and scale capacity, and deliver high quality experiences through a common infrastructure. It outlines some potential cloud use cases and challenges in deploying cloud for media workflows.