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Digital Cinema Revolution

Digital Cinema Revolution

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Digital Cinema Revolution

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  1. Digital Cinema Revolution Presented byKen Dozier USC Viterbi School of EngineeringWestern Research Application Center July 27th, 2006

  2. Digital Cinema Resolutions “HD Video ”

  3. Old vs. New “Roadwarrior” connected to Internet and to a projector is a cinema Today’s setup is a Digital Projector (2K) and Surround Sound system

  4. Moral of the Story • Billions of dollars in defense R&D technology will eventually find their way to entertainment markets • Computers, projectors, cameras are all examples of this trend • Digital Cinema will be transformed as a result

  5. Where it all started…. Visual System Engineer…. 1980’s • Hughes Aircraft • F-18 Flight Simulator • Two 40 Foot Domes • Air-to-Air Combat • 60 Frames per second • Discovered IMI Design • 6 Projectors • Not less than 32 different processing units • 14 CPU’s • 18 GPU’s

  6. The Hollywood Connection Vice President of Operations…. Digital Productions, Inc. The Last Starfighter, 1984 1 Cray XMP Supercomputer 2 DEC VAX 11780 120 Workstations Images Courtesy of Universal Pictures

  7. Digital Productions, Inc. National Science Foundation’s Supercomputing Center for Western U.S. Won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award in 1984 “For the practical simulation of motion picture photography by means of computer generated images” For the Company’s work on The Last Starfighter

  8. Learned at DP • Brought Computer Graphics into normal production schedules and budgets • IMI’s used to invent Pre-Visualization • Used a Supercomputer to render complex images quickly • Single-point-of-failure was a problem • Finite amount of computing was restrictive • A factory with fixed capacity

  9. Interactive Machines, Inc. (IMI) President and CEO.. • Lockheed Skunkworks Stealth Fighter Simulator (F-117) • Built Instructors Console and GraphicsEngines • Raised Venture Capital and listed in Fortune Magazine’s “Companies to Watch” • Entertainment Clients included: Universal Studios, Disney Studios, Cranston/Csuri, Pacific Data Images, Digital Productions, Bo Gehring, Mr. Film, Japan Computer Graphics Lab, and ComputerFX London.

  10. Technology Innovation: The Transition from Analog to Digital Platforms Phase I 1996 – 2001 Creation of Digital Formats Phase II 2002 - 2006 Technology Integration Web Services, Grid Computing, Distributed Computing and Improvements in Phase I Phase III 2006 – Beyond Transformation Computing Advances Transform Value Creation: business intelligence, economies of scale, partnerships, and increased productivity Source: IBM Institute for Business Value analysis, 2004

  11. Distribution Media Bandwidth 11 120 Gbps 12X QDR InfiniBand Async. Transfer Mode 54 Gbps (ATM) 4 Gbps Fibre Channel Gigabit Ethernet IEEE 1394 / Firewire LASER / Fast Ethernet 10BaseT / CAT 5 Microwave / Ethernet G3 / Wireless LAN DSL/ Cable G2 Wireless G1 Wireless Source: 1999 Fall Meeting, Community Development Council, Chuck Matthews INFOWORLD, Sept. 2000 B01-017

  12. Old School Source: “A Data-Centric Approach to Cinema Mastering” Thomas J. True, SGI

  13. New School Source: Sony (http://www.sony.com) Source: Digital Vision (http://www.digitalvision.se) Source: Dalsa Inc. (http://www.dalsa.com)

  14. Projection • Digital Light Processing (DLP)Developed at Texas Instruments (Used my Christie) max resolution (2048 x 1080) • Ultra-high frame rate. • Adjustable white point • Support XYZ color space (Director’s Gold standard) Direct Drive Image Light Amplifier (D-ILA)Developed at JVC (Licensed by Sony) • max resolution (4096 x 2160) • Adjustable white point • Support XYZ color space (Director’s Gold standard) Image courtesy of TI Image courtesy of JVC

  15. Computer • Nucoda PC-based workstations • HyperTransport internal busses @ 64 Gbps • Up to 8 AMD processors dual core equivalent to 16 processors • Feeds NVIDIA GPU, which are programmable with up to 24 pixel shaders. • Machines today have no fewer than 40 processing units Source: Digital Vision (http://www.digitalvision.se)

  16. Acquisition Camera: Dalsa Origin Output: 4:2:2 16-bit linear (12-bit log) CIF format (4096 x 2048) Capture:Codex Digital Recorder HUGE MediaVault Source: Dalsa Inc. (http://www.dalsa.com) Source: HUGE and Codex

  17. Digital Cinema Mars Rover Animation - Rendered in Pixar RenderMan - 1080p Windows Media Player, 5.1 Surround Sound