So what the company does is run an instance of OpenStack on-site where the shooting occurs and feed the raw camera footage into an object storage instance, which is then container-sunk back to Los Angeles. Although much of the post-production work for film and television still happens in LA an increasing number of shows aren’t shot there DFT for instance is currently working on shows shot in Vancouver, Toronto, and Virginia. So there’s a tremendous amount of efficiency gained,” he explains.įor an industry just starting to come out of physical transmission, that kind of workflow can bring tremendous benefits to a project. So instead of having to take the shots, pull it off an LTO tape, put it on a drive, and send it over to the visual effects company, they can send us a request and we can send them an authorised link that connects back to our Swift object storage, which allows them to pull whatever file we authorise. For instance, on both Mistresses and Perception there was an outside visual effects facility involved as well.
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“Any TV show or film production and post-production process involves multiple vendors. Processes like video and audio transcoding are a perfect fit for containers because they don’t necessarily warrant an entire virtual machine, and because the compute and storage can be kept so close to one another.Īubichon: ‘My goal is to help make the media and entertainment industry avoid what the music industry did’ The company runs most of its application landscape off a combination of Linux and Microsoft virtualised environments, but is also a heavy user of Linux containers – which has benefits as a transmission format and also offers some added flexibility, like the ability run simple compute processes directly within a storage node. For instance, in doing some of the post-production work for Spike Jonze’s HER the company used a combination of Rackspace’s public cloud and its own private cloud instances, including Swift for object storage as well as a video review and approval application and virtual file system application – enabling creatives to review and approve shots quickly. “With production and notably post-production costs increasing – both in terms of dollars and time – creatives want to be able to make more decisions in real time, or as close to real time as possible, about how a shot will look,” he says.ĭFT runs a hybrid cloud architecture based on OpenStack and depending on the project can link up to other private OpenStack clouds as well as OpenStack-based public cloud platforms. Next, IP broadcasters are supplanting traditional broadcasters – Netflix, Amazon or Hulu are taking the place of CBS, ABC, and slowly displacing the traditional content distribution model.Īnd, films are no longer exclusively filmed in the Los Angeles area – with preferential tax regimes and other cost-based incentives driving production of English-speaking motion pictures outward into Canada, the UK, Central Europe and parts of New Zealand and Australia.
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Click here to download your copy today.Īubichon explains three big trends are converging in the entertainment and media industry right now that are getting stakeholders from production to distribution interested in cloud.ĤK broadcast, a massive step up from High– Definition in terms of the resources required for rendering, transmission and storage, is becoming more prominent. This article appeared in the March/April issue of the BCN Magazine.
With 4K becoming more prominent we have some projects that generate about 12TB of content a day,” he says. “The first and the most pressing pain point in the entertainment industry right now is storage – inexpensive, commodity storage that is also internet ready. And Aubichon says that like many in the industry DFT’s embrace of cloud came about because the company was trying to address a number of pain points. Since its founding in 2000, DFT has done post-production work for a number of motion pictures as well as television shows airing on some of the largest networks in America including ABC, TNT and TBS. But Guillaume Aubichon, chief technology officer of post-production and visual effects firm DigitalFilm Tree (DFT) says production and post-production outfits may find use in the latest and greatest in open source cloud technologies to help plug the growing gap between technical needs and capabilities – and unlock new possibilities for the medium in the process.
You don’t have to watch the latest ‘Avengers’ film to get the sense the storage and computational requirements of film and television production are continuing their steady increase. Republished from Business Cloud News magazine March 25, 2015 Written by Jonathan Brandon
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