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April 9, 2010

CineGrid @ ASIS&T 2010 Building a Collaborative Testbed for Very High-Quality Media Applications Using Very High-Speed Networks. April 9, 2010. Laurin Herr President, Pacific Interface Inc. laurin@pacific-interface.com. What is CineGrid?.

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April 9, 2010

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  1. CineGrid @ ASIS&T 2010Building a Collaborative Testbed for Very High-Quality Media Applications Using Very High-Speed Networks April 9, 2010 Laurin Herr President, Pacific Interface Inc. laurin@pacific-interface.com

  2. What is CineGrid? Formed 2004 – non-profit international membership organization Mission – to build an interdisciplinary community Focus – the research, development & demonstration of networked collaborative tools To enable – the production, use, preservation & exchange of very high-quality digital media over high-speed photonic networks Members – media arts schools, research universities, scientific labs, post-production facilities & hardware and software developers around the world Connected via 1 G Ethernet & 10 G Ethernet networks For – research & education

  3. Convergence Motivates CineGrid Media technology historically driven by 3 sectors Entertainment, media, art and culture Science, medicine, education and research Military, intelligence, security and police Adoption of digital media means all 3 face converging needs Fast networking for distributed applications Access to shared devices Specialized computers and massive storage Collaboration tools for distributed teams Robust security for intellectual property Higher quality sound and picture A next generation of trained professionals

  4. CineGrid: A Scalable Approach Tiled Displays Camera Arrays More UHDTV (far future) 1 - 24 Gbps 8K x 60 4K2 x 24/30/60 Stereo 4K (future) 500 Mbps - 15.2 Gbps SHD x 24/30/60 SHD (Quad HD) 250 Mbs - 6 Gbps 4K x 24 250 Mbps - 7.6 Gbps Digital Cinema 2K2 x 24 2K x 24 200 Mbps - 3 Gbps Stereo HD HD2 x 24/25/30 HDTV HDTV x 24/25/30/60 20 Mbps - 1.5 Gbps HDV x 24/25/30/60 Consumer HD 5 - 25 Mbps

  5. Why is more resolution is better?1. More Resolution Allows Closer Viewing of Larger Image2. Closer Viewing of Larger Image Increases Viewing Angle3. Increased Viewing Angle Produces Stronger Emotional Response Visual acuity=1.0=20/20 Standard viewing distance 1920 30º 1080 HDTV (2K) UHDTV(8K) 7680 3.0 × Picture Height UHDTV(4K) 3840 4320 2160 60º 100º 0.75 × Picture Height 1.5 × Picture Height Yutaka TANAKA SHARP CORPORATION Advanced Image Research Laboratories

  6. Saint Issac’s cathedral in St. Petersburg, RussiaOriginal art is 3 meters tall by 1 meter wideOriginal photograph shot from about 3 meters distance. Camera resolution of 12 Mpixels (4K x 3K)

  7. Original shot from about 1 meters distance

  8. Original shot from about 0.3 meters distance

  9. 1981Francis Ford Coppola with Dr. Takashi Fujio “First Look” at Electronic Cinema

  10. 2001NTT Network Innovations Laboratory“First Look” at 4K Digital Cinema

  11. 2004 OptIPuter Vision for the Next DecadeGigapixels @ Terabits/sec 4K Streaming Video Gigapixel Wall Paper Augmented Reality No Glasses 1 GigaPixel x 3 bytes/pixel x 8 bits/byte x 30 frames/sec ~ 1 Terabit/sec! Source: Jason Leigh, EVL

  12. CineGrid projects run over the Global Lambda Integrated Facility (GLIF) backbone In California, CineGrid access primarily via CENIC 2008 GLIF Visualization by Bob Patterson, NCSA/UIUC

  13. “Learning by Doing” EarlyCineGrid Projects CineGrid @ AES 2006 CineGrid @ iGrid 2005 CineGrid @ Holland Festival 2007 CineGrid @ GLIF 2007

  14. CineGrid Exchange • TERABYTES PILING UP. To store & distribute its own collection of digital media assets. Members access materials for experiments and demonstrations. • THE DIGITAL DILEMMA. Report published by AMPAS – lessons learned by NDIPP and NARA + pioneering research at Stanford (LOCKSS) & UCSD (SRB and iRODS) • GLOBAL SCALE TESTBED = distributed storage + fast networks + high quality digital media assets. Explore strategic issues in digital media storage, access, distribution and preservation.

  15. Trends in Cinema • Movie-making is going digital and going global. Local talent is key! • Post-production is almost all digital already. Increasingly distributed! • Many movies still shot using 35mm film cameras, then scanned as the first step in the “digital intermediate” process, but digital cameras are getting better and better! • Digital cinema projection technology is enabling better picture quality: From 2K digital to 4K digital, plus a new generation of 3D stereo movies… Avatar !

  16. Trends in Cinema • Cinema sound quality is improving. From stereo to compressed 5.1, to uncompressed 5.1, to uncompressed 7.1 surround sound! • Of the roughly 100,000 screens worldwide, only 15% are digital today. But recent financing announcements in the USA lead to forecasts that 60-70% of American screens will be digital by 2013! • Fast networks are becoming critical infrastructure for media companies involved in production, post-production and distribution! • Education of the next generation of media professional is critical!

  17. Cinema Archives vs. Libraries • Archive • Goal: preservation without errors, access without end • Access is “WORSE” case: Write Once Read Seldom if Ever • Long-term “insurance” for expensive intellectual property • Mixed motivations • Potential for future revenue • Corporate asset protection • Cultural record • Library • Goal: customer service, active management, temporary storage • Access is “BEST” case: Best Effort Sells Titles • Mixed inventory: film, video, digital in many formats • Increasing going online/near-line • quicker search of inventory • faster time-to-market • lower cost of replication & distribution

  18. The Digital Dilemma of Cinema • 35mm film is the quality standard for motion pictures • Properly stored lasts 50-100 years • Survives “benign neglect” gracefully • Directly readable without reliance on “software stack” • Very cost effective storage media • 4K digital cinema needed to match 35mm analog film quality • More than 8 TB per master version of 2 hour theatrical movie • More than 5 million objects, ~ 2 PB total all elements per production • Hollywood produce approx. 400 motion pictures per year • Hollywood archives are privately funded for future profit • Digital cinema preservation relying on endless migration is less reliable and much more expensive (TCO) than film preservation

  19. CineGrid Exchange 2008Geographically Distributed Repositories + Fast Networks High-quality digital media assets: 4K, 2K, HD, mono & stereo, still & motion pictures + audio • San Diego @ UCSD/Calit2 40 TB with 10 Gbps connectivity • Amsterdam @ UvA 30 TB with 10 Gbps connectivity • Tokyo @ Keio/DMC 6 TB with 10 Gbps connectivity Total storage = 76 TB

  20. CineGrid Exchange 2009 Building on Basic Concept • Receive “seed” funding from AMPAS to start building multi-layer open source asset management & user access framework for distributed digital media repository • Establish Working Group • Bi-annual workshops • Weekly conference calls • Basecamp for online coordination • Write CineGrid Exchange functional requirements document • Expand CineGrid Exchange storage capacity with more nodes • Diversify to reduce risk!

  21. CineGrid Exchange 2009 Phase 1 Development Goals • Define basic workflows for ingest, preservation, distribution, & deletion • Implement basic workflows to automate management of collection • Expand distributed repository: more nodes, more assets in collection • Deploy consistently at all CineGrid Exchange nodes • Enable easier large data transfers between nodes • Prepare for integration of cataloging application + distributed repository • Define and validate CineGrid Exchange metadata schema

  22. CineGrid Exchange DevelopmentMulti-layer Open Software Stack CineGrid Exchange Access Portal For CineGrid by CineGrid User Interface & Access Open Source Application for Collections Management & On-Line Access Collective AccessExtended by Whirl-I-Gig for AMPAS Open Source Digital Repository Interface iRODS by DICE For CineGrid By Calit2 Open Source Middleware for Rule-based Management of Distributed Digital Repository Resources & Asset Testbed Infrastructure of Distributed Storage and Network Links Resource Description Framework For GLIF and CineGrid by UvA

  23. CineGrid Exchange (CX) MiddleWareiRODS (Integrated Rules Oriented Data Services) • Programmable micro-services to implement management policies as non-ambiguous “rules” for automated operations across distributed storage repository • Transparent management of CX files in a distributed repository • Dedicated CX storage • Non-dedicated CX storage • Centralized catalog (iCAT) • File transfer using parallel TCP & UDP • Suitable for experimenting with digital media preservation strategies

  24. CineGrid Exchange 2010 Build multi-layer open-source framework for distributed digital media repository Refine iRODS middleware “rules” for robustness Integrate iRODS + Collective Access

  25. Acknowledgements • Academy of Motion Picture Arts and Sciences, STC • Naval Postgraduate School, MOVES Institute • University of California San Diego, Calit2 • University of Illinois Chicago, EVL • University of Washington, Research Channel • Ryerson University, Rogers Communications Ctr. • CESNET • NTT Network Innovation Laboratory • Keio University, DMC • University of Amsterdam • Pacific Interface • DICE at UNC & SDSC

  26. CineGrid International Workshop December 13-15, 2010 @ UCSD

  27. www.cinegrid.org

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