Building Cine Grid on GLIF Tom De Fanti

Building Cine. Grid on GLIF Tom De. Fanti Research Scientist California Institute for Telecommunications and Information Technology University of California, San Diego Distinguished Professor Emeritus of Computer Science University of Illinois at Chicago Laurin Herr Pacific Interface, Inc.

Digital Movies and Beyond 10 - 100’s Gbps 1 - 24 Gbps 500 Mbps - 15. 2 Gbps 250 Mbps - 7. 6 Gbps 200 Mbps - 3 Gbps 100 Mbps - 1. 5 Gbps 25 Mbps 10 s to 100’s of Megapixels 8 K x 60 4 K 2 x 24/30 4 K x 24 2 K 2 x 24 2 K x 24 HD 2 x 30 HD x 24 - 60 HDV x 24 - 60 Source: Laurin Herr Tiled Displays 8 K (projector) Stereo 4 K Digital Cinema Stereo HD HDTV Consumer HD

Economic Impact of Cinema in California Major Employment from Movie Industry in California by County In 2005, movie production provided employment for over 245, 000 Californians, with an associated payroll of more than $17 billion A 2 -hour movie digitally scanned and compressed at 500 Mb/s takes 450 GBytes Hollywood alone makes 250 movies a year http: //www. google. com/maps? q=http: //research. calit 2. net/a 2 i/ca. kmz Source: Laurin Herr and Jerry Sheehan

Cisco. Wave: New Capacity for Cine. Grid Members Pacific. Wave 1000 Denny Way (Westin Bldg. ) Seattle Star. Light Northwestern Univ Chicago Level 3 1360 Kifer Rd. Sunnyvale Equinix 818 W. 7 th St. Los Angeles CENIC Wave Calit 2 San Diego Mc. Lean Cisco has built 10 Gig. E waves on NLR and installed big 6506 switches for access points in San Diego, Los Angeles, Sunnyvale, Seattle, Chicago and Mc. Lean for Cine. Grid Members Some of these points are also GLIF GOLEs Cisco. Wave core Po. P 10 GE waves on NLR and CENIC (LA to SD) Source: John (JJ) Jamison

What is Cine. Grid? Cine. Grid is a non-profit international membership organization established in 2007 based on collaborative efforts, since i. Grid 2002 in Amsterdam, of leaders in the fields of advanced networking and digital media technology from Japan, America, Canada, and Europe. Cine. Grid is building an interdisciplinary community for the research, development, and demonstration of networked collaborative tools to enable the production, use, and exchange of very high-quality digital media over photonic networks. Cine. Grid is built on GLIF links by GLIF members. Cine. Grid organizes major demonstrations with many GLIF users.

Historic Convergence Motivates Cine. Grid • State of the art of visualization is always driven by three communities – Entertainment, media, art and culture – Science, medicine, education and research – Military, intelligence, security and police • All three communities are converting to digital media with converging requirements – – – Fast networking with similar profiles Access shared instruments, specialized computers and massive storage Collaboration tools for distributed, remote teams Robust security for their intellectual property Upgraded systems to allow higher visual quality, greater speed, more distributed applications – A next generation of trained professionals

Cine. Grid Founding Members • • • • Keio University DMC Lucasfilm Ltd. NTT Network Innovation Laboratories Pacific Interface Inc. Ryerson University/Rogers Communications Centre San Francisco State University/INGI Sony Electronics America University of Amsterdam University of California San Diego/Calit 2/CRCA University of Illinois Chicago/EVL University of Illinois at Urbana-Champaign/NCSA University of Southern California/School of Cinematic Arts University of Washington/Research Channel The Founding Members of Cine. Grid are an extraordinary mix of media arts schools, research universities, and scientific laboratories connected by 1 GE and 10 GE networks used for research and education

Cine. Grid Institutional Members • • • California Academy of Sciences Dark Strand JVC America Louisiana State University CCT Nortel Networks Renaissance Computing Institute (RENCI) Sharp Labs USA Sharp Corporation Tohoku University/Kawamata Laboratory Waag Society Cine. Grid members operate their own digital media facilities and cyberinfrastructure for digital cinema and HDTV production, postproduction, distribution and exhibition distributed on a global scale, as well as for telepresence, distance learning and scientific visualization.

Cine. Grid Network / Exchange Members • • • • CANARIE CENIC CESNET Cisco Systems Czech. Light Japan Gigabit Network 2 National Lambda. Rail Nether. Light Pacific. Wave Pacific North West Giga. POP Star. Light SURFnet WIDE Cine. Grid Network/Exchange Members are GLIF Members too

Cine. Grid Members’ Research • Live performance streaming/video conferencing in 4 K and HD with multichannel sound, point-to-point, one-to-many, and many-to-one • • Remote recording of uncompressed 4 K camera output in real-time Stereoscopic motion pictures - acquisition, computer generation and display • • Networked multi-channel audio solutions with low latency, accurate sync Remote collaboration workflows and interactive creative tools • • Use of dynamic optical networks Collaboration on tiled displays to 100 s of megapixels • • • Digital archiving, long-term preservation, and secure distribution Digital media format conversion, compression and enhancement Digital film restoration using distributed cluster computing resources • Training and methodologies for next generation media professionals

Digital Cinema at Calit 2 ü ü ü 200 seats 1 GE to every seat 4 K 10000 -lumen Sony SXRD 10. 2 sound 10 GE networking to the projector servers: ü NTT JPEG 2000 ü Zaxel Zaxstar ü Dell/Nvidia graphics

Cine. Grid Node at Keio University/DMC, Tokyo Sony 4 K Projectors Olympus 4 K Cameras Imagica 4 K Film Scanner SXRD-105 4 K Projector NTT JPEG 2000 Codec

Presentation in 4 K • Sony’s SXRD 4 K projector (5000 or 10000 lumens) – R for Digital Cinema HD-SDI inputs, S for DVI inputs • JVC’s 4 K projector (3500 lumens) – Good for rear projection--see it at SC 07 • Chimei’s Quad-HD LCD panels – Toshiba, Astro Design, Barco(? ), others • Sharp’s DCI 4 K LCD displays – DCI Cinema Specification (10 -bit color, etc. ) • Opt. IPortal Tiled-display for more than 4 K Source: Dr. Ohta, Keio University

Shooting 4 K: Digital Motion Picture Cameras • Olympus Octa. Vision (Quad-HD: 3840 x 2160) – Developed 5 years ago – Real-time transmission of quad-HD • Dalsa Origin II – Cinema lens is available – De-Bayering is necessary • RED Coming: Sony 4 K Camera Source: Dr. Ohta, Keio University

Live 4 K Video via JPEG 2000 (Sender) 4 K motion picture camera 4 K JPEG 2000 Encoder 4 x HD-SDI SW 1 -10 Gb/s Only way to do this today ADAT (to HDSP 9652) Source: Dr. Ohta, Keio University JPEG 2000 Board

Live 4 K Video via JPEG 2000 (Receiver) 4 K JPEG 2000 Decoder 4 K Auditorium 1 -10 Gb/s 4 K Projector ADAT from HDSP 9652 JPEG 2000 Board Source: Dr. Ohta, Keio University

Everyday 4 K Pre-encoded File Streaming Server 4 K JPEG 2000 Decoder 1 Gb/s E Encoded File WAV File ADAT form HDSP 9652 Source: Dr. Ohta, Keio University

Shooting Scene in Milan

Production Workflow Recording (Olympus Octa. Vision Case) Optical Fiber (up to 300 meters) HD-SDI Duomo CSC Rec. 709 D 65 G 2. 2 17” LCD HD CRT WFM Converter Olympus Octavision Camera Olympus Recorder 3840 x 2160 24 Psf 10 bit lin 3840 x 2160 29. 97 Psf 10 bit lin 4 K HDD RAID 5 Recorder Portable RAID 5 4 K HDD Recorder Station 3840 x 2160 24 Psf 10 bit UDR File naming & Numbering Back Up Source: Dr. Ohta, Keio University BNC carries HD-SDI 10 -bit 4: 2: 2 single-link SMPTE 292 M Optical fiber carries: 4 HD-SDI

Post Production Workflow Example Gb. E HDSDI Milano XSAN 16 bi t Tiff 3840 x 2160 24 Psf 16 bit Tiff Rome Screening Rec. 709 D 65 G 2. 2 Rec. 709 D 65 G 2. 6 HD CRT Screen (SXRD) DCDM DCP DSM Quantel i. Q (Pablo) 4096 x 2160 24 Psf 16 bit Tiff 4096 x 2160 24 Psf 10 bit DPX lin Doremi Encoder 4096 x 2160 24 Psf 12 bit jpeg 2000 lin Import Selected images Offline & Online Editing Digital Color Grading Final Cut Pro Finishing (Titling etc. ) 4 K Rendering Resize 4 K to 1280 x 720 Offline Editing (rough) Exchange Format ? Select and Delete Images Source: Dr. Ohta, Keio University DCI Compliant Server

4 K Pure Cinema Joint Field Trial 2005 WB-NTT-TOHO via Cine. Grid Japan　 NTT Gem. Net 2 1 Gbps Tokyo　 US　 Seattle　 Cine. Grid 1 Gbps Osaka　 Key center Distribution center 1 Yokosuka　 Distribution center 2 (NTT) （ＮＴＴ West） Key management ＮＴＴ’s Fiber network 1 Gbps Theater C （Toho） Takatsuki Los Angeles NTT’s Fiber network 1 Gbps Theater B Theater A （Toho） Roppongi GDMX* Dubbing, Subtitling Daiba （WBEI） Compression, Encryption, File wrapping Color adjust, Quality control Studio　　　　 （WBEI） Burbank * Global Digital Media Xchange

Cine. Grid@AES October 2006 LDAC Premiere Theater Keio DMC Tokyo DVTS Sony DV Sony 4 K Yamaha Mixers Olympus 4 K Camera Sync NTT JPEG 2000 CODEC and Server Audio Cine. Grid California Networks Cine. Grid International Networks Sync NTT JPEG 2000 Servers Pro. Tools Audio Server UCSD San Diego USC LA

Cine. Grid @ AES 2006 Keio Wagner Society String Ensemble

Holland Fest (6/20 -22/07) on Cine. Grid • “ERA LA NOTTE” Star soprano Anna Maria Antonacci sang solo madrigals from the Italian baroque in the setting of a theatrical concert (http: //www. hollandfestival. nl/#festival/voorstelling/9043 ) • 4 K transmission – JPEG 2000 Compressed (500 Mb/s) via IRNC/C(ON)2/CAVEwave to Calit 2 on Wednesday – Uncompressed via IRNC/JGN 2 to Keio on Friday (8 b. Gb/s) • DVCPRO-HD transmission – Compressed (135 MB/s) via IRNC/C(ON)2/CAVEwave to Calit 2 on Thursday – Replicated and sent to USC, UW, UIC, Ryerson, (Stockholm), Barcelona, (Prague) as 135 Mb/s streams, decoded by PCs • All done with vlans set up in a week or so

Swimming Fiber the Last 500 m to the Muziekgebouw Photo: Ronald van der Pol

COLOR CORRECTION SETUP – GLIF Demo HD-SDI 2 x GE starlight SONY SXRD projector PC with i. HDTV 10 GE Baselight output GE HD-SDI Qvidium gateway i-Link Baselight GE AJA GE HD-SDI DVCPRO HD Camera Videoconf input HD-SDI e 300 GE 10 GE PC with i. HDTV Remote baselight console 2 x GE C 7604 Videoconference output GE i-Link GE Qvidium gateway DVCPRO HD Camera Videoconf input PC with Qvidium SW Videoconference output PC with Qvidium SW

Summary: Cine. Grid on GLIF • A new goal for GOLEs: global access to cinema production & post production – Geographic location need no longer be a barrier to your customers creating with the highest media production quality – You can bring your local talent and facilities to distant places – You can show support for your projects nationally and internationally – You will point to increased revenue and employment growth in your media industries working with world-wide collaborators, as well as observable bandwidth utilization of GLIF-style networks

Thank You Very Much! • Our planning, research, and education efforts are made possible, in major part, by funding from: – US National Science Foundation (NSF) awards ANI-0225642, EIA 0115809, and SCI-0441094 – State of California, Calit 2 UCSD Division – State of Illinois I-WIRE Program, and major UIC cost sharing • Argonne National Laboratory and Northwestern University for Star. Light networking and management • National Lambda Rail, Pacific Wave and CENIC • NTT Network Innovations Lab • Cisco Systems, Inc. • Pacific Interface, Inc.