HOLLYWOOD IN THE
CLOUD
What is it? Where is it? Should we use it?
HPA Tech Retreat
February 17, 2011
Today’s media landscape
Consumers are driving change, and the industry is responding
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Consumers want to
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And the media industry is responding by
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Control when, where, and how content is consumed
Participate in creation of content
Interact socially
View HD, 3D, and rich media—on 3 screens
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
Media is moving to the network edge
Current Media Trends
“All-in-one” devices &
Integrated IP-based
TV devices
Packaged Media
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Whole-home DVRs
Place-shifting devices
(SlingBox, HAVA)
Hybrid content feed
DVD, Blu-ray
More device-centric
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Set-top boxes
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Network-based
services
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TV sets (home networks,
UPnP-embedded IPTV
clients)
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HD whole-home DVRs
Media center TVs (software
plug-ins)
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Media management and
delivery from cloud
(Hula, Netflix, etc.)
Wireless broadband IPTV
(WiMAX, LTE)
P2P-enabled CDN, SIP
for IPTV Signaling, VOD
via RTSP
More network-centric
Challenges in the new media landscape
Changing operational and business models
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Operational needs
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Business needs
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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
New methods to monetize assets
Lowered operating costs
Better use of available capital
Transition from Film to Digital
Relatively short history…
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1990 - The Rescuers Down Under
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1993 - Snow White and the Seven Dwarfs
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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
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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?
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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
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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.
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.
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Film formats
150 formats over 120 years
Format
Chronophotographe
Creator
Etienne-Jules Marey
Est.
1888
First Known Work
motion analysis studies
Paperfilm
Louis Le Prince
1888
Roundhay Garden Scene
Theatre Optique
Chronophotographic
Kinesigraph
Emile Reynaud
Wm. Friese-Greene
Wordsworth Donisthorpe
Kinetoscope cylinder
Wm. Dickson & T. Edison
Kinetoscope horizontal
Wm. Dickson & William Heise
Silent film standard
1888
1889
1889
1889 or
1890
Negative Gauge
90 mm
54 mm or 63.5
mm
Aspect Ratio
1
1
Pauvre Pierrot
view of Trafalgar Square
54 mm
68 mm
Monkeyshines, No. 1
cylinder strip
1891
Dickson Greeting
19 mm
Wm. Dickson & T. Edison
1892
Blacksmith Scene
35 mm
Bioskop
Max Skladanowsky
1892
footage of Emil Skladanowsky 54 mm
Acres 70
Birt Acres
1894
Eidoloscope
Cinematographe
Woodville Latham
Lumiere Brothers
1895
1895
The Henley Royal Regatta of
70 mm
1894
Griffo-Barnett Prize Fight
51 mm
La Sortie des Usines Lumiere 35 mm
Biograph
Herman Casler
1895
Sparring Contest at Canastota 68 mm
1.35
Joly-Normandin
Biographe
Chronophotographe
Sivan-Dalphin
Henri Joly
Demeny-Gaumont
Demeny-Gaumont
Casimir Sivan and E. Dalphin
1895
1896
1896
1896
60 mm
60 mm
60 mm
38 mm
1.4
1.4
1.00?
1.33
1.38
1.85
1.33
What is Cloud?
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)
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Cloud – Essential Characteristics
Fluffy, grey, wet…
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On-demand self-service
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Broad network access
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Capabilities can be rapidly and elastically provisioned, in some cases automatically, to quickly scale out and rapidly
released to quickly scale in
Measured Service
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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
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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
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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.
Cloud systems automatically control and optimize resource use by leveraging a metering capability at some level
of abstraction appropriate to the type of service
Source: NIST
Different Clouds?
Cirrus, Cumulus, Nimbostratus…
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Private cloud
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Community cloud
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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
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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
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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.
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).
Source: NIST
Today’s Panel
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Steve Poehlein
Director, Media & Entertainment Solutions, HP Enterprise Services
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Howard Lukk
Vice President, Production Technology, Walt Disney Studios
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Kurt Kyle
Industry Principal, Media & Entertainment, SAP America, Inc
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Steve Mannel
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Al Kovalick
Global Industry Executive, Media & Communications,
Salesforce.com
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Dan Lin
Fellow and Strategist, AVID
Chief 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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Service Models
We’ve done this before…
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Cloud Software as a Service (SaaS)
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Cloud Platform as a Service (PaaS)
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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)
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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.
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.
Source: NIST
“I really don’t know clouds at all,” – Joni Mitchell
THANK YOU
Steve Poehlein
HP Enterprise Services
steve.poehlein@hp.com
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