AMIA - rbcconsultant.com textes/cstamia2002.pdf · comité de veille et de promotion de projets...
Transcript of AMIA - rbcconsultant.com textes/cstamia2002.pdf · comité de veille et de promotion de projets...
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AMIA Compte-rendu
de la dernière Conférence annuelle
Boston 2002
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AMIA Association of Moving Image
Archivists
Une association de personnes
Archivistes film et/ou vidéo et/ou audio
Organisation dynamique : de moins de 200 membres en 1998 à plus de 600 aujourd’hui
Une équipe réduite de permanents et des bénévoles nombreux
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Participation aux activités de l’AMIA
Représentation du JTS Paris 2000 à la Conférence annuelle de Los Angeles en novembre 2000
Membre du DIC (Digital Initiative Committee) : comité de veille et de promotion de projets d’étude et de recommandations sur les conséquences de l’évolution technologique numérique dans le domaine de la conservation et de la restauration. A proposé un grand nombre de sessions pour la Conférence de Boston
Membre du Preservation Committee, de l’Education Committee, de l’International Outreach Task Force
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Boston Conférence orientée vers les questions
numériques :
Transition vers le numérique
Internet, accès et diffusion
Metadata
Gestion des collections
Catalogage
Aussi, étude intéressante sur comparaison boites métal, plastique
Moments forts :
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Une nouveauté : session audio
Archiving digital audio
Digital Media Physical Issues
AIFF, SD2, BWF, OMF, MXF, AAF “The joy of metadata!”
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Archiving Digital Audio
Corey Bailey [email protected]
Scott Wood – Digidesign [email protected]
Keith Watanabe – FPC [email protected]
Elizabeth Cohen PhD – UCLA [email protected]
Larry Blake – Re-recording mixer [email protected]
http://www.rydot.com/amia/
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Keith Watanabe Digital Media Physical Issues
Optical Media
Linear Digital Tape
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CD Recordable
Technology Overview
Widely distributed
Archive vs. Computer Industry
Why do discs fail?
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CD Recordable
Physical makeup
Spiral inside out
Organic dye
Reflective layers
Storage Suggestions
Disc Recovery Strategies
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DVD-Recordable
DVD
DVD-R, RAM, +R
Authoring, General
Physical makeup
Similar to CD-R
DVD Case Recommendation
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Magneto Optical
Technology
Physically stable
Concentric Rings
Heat & Magnetics Trends
Flat and/or declining
Dolby established MO
Widespread Europe
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Tape Technology
Linear Helical Scan
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DTRS (DA88)
Technology
Helical Scan Format
Tape format problems
Manufacturer issues
Fuji tape has tested well
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Advanced Intelligent Tape AIT
Technology
Helical Scan Format
Economical
Single Supplier
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Digital Linear Tape - DLT
Technology
Established since Mid 80’s
1.7M base
Single Source
Loads like reel to reel – linear path
DVD Mastering De facto Standard
Cartridge issues
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Linear Tape Open LTO
Consortium of Companies
Seagate, HP, IBM
Technology
Index chip, linear, cast aluminum shell
Gaining momentum
Sony Pictures, WB
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Market pricing per GB comparisons
CD-R/DVD-R $.50 - $1
MO $10.25
DLT IV/AIT2 $1.50 - $1.65
SDLT/ LTO/ AIT3 $.90 - $1.15
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Sources IRMA statistics
www.recordingmedia.org
Why CD-R’s Fail http://www.mscience.com/cdrfail.html medialine, Oct 2002, Jerome Hartke
http://www.dvddemystified.com/dvdfaq.html
http://www.digital-interact.co.uk/site/html/reference/media.html
http://www.superdlttape.com/pdfs/Technology.pdf
http://www.digitalprosound.com/2001/04_apr/features/tech_apr2.htm
http://www.lto-technology.com/newsite/index.html
http://www.aittape.com/
http://www.clir.org/pubs/reports/pub54/2what_wrong.html
http://www.sel.sony.com/SEL/rmeg/mediatech/indexdir.html
http://www.fcw.com/fcw/articles/2001/0108/tec-tale-01-08-01.asp
http://www.specsbros.com/faq.html
http://www.cdw.com
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AIFF, SD2, BWF, OMF,
MXF, AAF
“The joy of metadata!”
November 23, 2002
m a k e m a n a g e m o v e | m e d i a TM
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The Audio Formats
AIFF -by Apple
SD2 -by Digidesign
BWF -by EBU
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AIFF
-by Apple
• PCM audio
• Name
• Date
• Comment
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BWF (Broadcast Wave Format)
-by EBU
• .wav file (like Windows)
• EBU standard
• 32 bit timestamp
m a k e m a n a g e m o v e | m e d i a TM
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Naming Guidelines
Larry Blake, Skywalker, etc
• Projects
• Tracks
• Reel #, dupe date, speed adjustments,
version, production name, recorded
information,
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Project Naming Guidelines
-v5_3_SM1_1AB_PDxPre
• Version 5.3
• “Space Movie 1”
• Reel 1 AB
• Production Dialog
• PreMix
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Track Naming Guidelines
-7SM2FoaPre
• Small reel 7
• “Space Movie 2”
• Foley A
• PreMix
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Layers
5. Tools & Services
4. Complex Metadata
3. Wrapper
2. Essence
1. Transport
Enhanced Collaboration
Sequence/Bin/Project
Clip Metadata
Raw Media Data
Interconnection
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Advanced Standards
OMF = “Open Media Format”
Avid originated exchange format
MXF = “Materials eXchange Format”
MPEG standards group
AAF = “Advanced Authoring Format”
AAF Association
Open source
“Zero divergence” agreement with MXF
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Why Not Continue with OMF? Business
Users require openness for interop
Users need critical 3P partnerships
Strategy
Users feel “burned”
Don’t trust OMF for 100% performance
Technology
Saddled with crufty technologies (e.g. bento)
Not extensible enough
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MXF: Business Drivers Acquisition/Delivery devices getting smarter
Disk- and File-Based Devices
Storing useful source metadata in electronic form
Eliminate the “digitize” loading step
No appropriate industry standard file format
Must be essence/platform/application independent
Must work in each stage of the process
Acquisition
Authoring
Delivery/Distribution
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MXF: Different Use Models Acquisition
One file per take
Embedded audio and video, continuous time code
Authoring (AAF)
Complex decision making
Media processing
Sequence decisions
Delivery/Distribution
Embedded audio and video
May contain alternate versions – multiple partitions, multiple essence containers, multiple edit decision lists
Import
Export
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AAF Metadata “Package”
Edit decisions for 25i/30i Online, 24p HD Conform, 2k Conform, Film (Cuts List)
Visual image metadata, including effects, key frames, parameters, color correction, pan&scan
Metadata for archive, asset management, automation
Titles for compliance tracking
Subtitles
Links to interactive content
Embedded Audio for sweetening
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AAF Tomorrow
Audio Metadata
AudioSuite History (processing chain)
Mix topologies
Automation data
Routing
Graphics and Animation Metadata
Layers
Light Sources
Timing m a k e m a n a g e m o v e | m e d i a TM
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AAF is Open
AAF is the only standard of its type that…
is designed explicitly for media creation, and
is platform- and OS-independent and
is not controlled by one manufacturer and
cannot be changed unilaterally by one
manufacturer without concern for developers
and customers
can easily be extended by implementers and
carries a royalty-free license for implementers and
requires no license for end-users
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Avid Products Support AAF
Avid Media Composer Avid|DS HD Avid Symphony
Avid Xpress Avid Xpress DV Avid Xpress DV
Today
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Avid Products Support AAF
Avid Media Composer Avid|DS HD Avid Symphony
Avid Xpress Avid Xpress DV
Softimage XSI Digidesign Pro Tools Avid MediaManager
Avid Xpress DV
Soon!
m a k e m a n a g e m o v e | m e d i a TM
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Autres moments forts
The Reel Thing
Daniel Rosen (Cinesite)
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Digital Restoration Experiences
presented by
Thomas Bakels
ALPHA-OMEGA
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The Topics:
Facts and results
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The Topics:
Facts and results
– The Bros.Skladanowsky
Neg‘s
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The Topics:
Facts and results
– The Bros.Skladanowsky
Neg‘s
Formats and bit-
depth
– a ‚BIT‘ too much trouble
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My K Is Bigger
Than Your K Dan Rosen
AMIA 2002
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How Is Data Stored On Film? Film Converts Photonic To Chemical Energy
Incoming photon reduces metal halide to metal (Ag)
Grains form the image or dye clouds around grains to form image
Multiple Layers in Film Acetate, nitrate or other base layer Possibly a dark-colored intermediate anti-halation
layer Emulsion layer
B/W – AgBr (typical) in gelatin Color – Separate dye layers separated by B/W
layers
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Characteristic Data Properties
Sensitometry Describes how film density relates to exposure Evaluation takes place under controlled and
specified conditions Spectral Sensitivity
Describes the degree of photographic response to radiation of various wavelengths
Resolution Everyone’s favorite measure Source of many religious schisms
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What K? – The Truth About Resolution Resolution measurements in lp/mm or dpi, etc are
not objective Subjectively determined from resolution bar charts
A series of black and white bars, perhaps taping closer and closer together, are shown to an audience
Test is under controlled conditions Subjects are asked to indicate where the
individual bars blur into a gray patch Heavily dependent on contrast
Surprisingly, resolution is only slightly dependent on development.
Maximum resolution is at some intermediate exposure
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MTF – The True Resolution? MTF (Modulation Transfer Function)
Measures the response of an optical system to a periodic sinusoidal line pattern (eg: Ronchi ruling)
Measured in cycles/mm
Is an objectively measured function
Typically, plotted as percentage vs cycles/mm
• Percentage is percentage of incoming radiation reproduced by the optical system
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How Good Are These?
Resolution measurements, objective or subjective are highly dependent
Illumination levels
Overall contrast
Measurements MUST be the TOTAL imaging system
Film, lens, printer, scanner, etc
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A Trip to Never-Never Land or How Good Can It Ever Be
A simple model:
(1/rsystem)2 = (1/rfilm) 2 * (1/rlens) 2
Film Resolution
Lens Resolution
System Resolution
100 100 71
100 200 89
100 400 97
600 100 98
600 600 425
600 1800 569
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Never-Never Land (cont.)
lp/mm to dpf (dots per frame)
35mm Academy Frame (21.95mm = .864”)
Lp/mm Dots per frame
6 264
46.7 2048
50 2196
93.3 4096
100 4390
200 8780
300 13170
400 17560
500 26340
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Does Pixie Dust Exist? Like anything, film involves trade-offs
Grain against speed
Typical grain in modern color film is 1 micron
Fast (or even “push” process) = more metallic grains = grainy look
• High speed film might have 1.5-2 micron size grains
B/W looks grainier than color
Ag grains have sharp edges
Dye clouds coupled to grains diffuse into gelatin
Early motion picture lenses were OK, not great
Zeiss optics so great only the diffraction of light affects the image quality
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Diffraction Limited Optics
Aperture Lp/mm Dpf
1.4 550 24145
2.0 385 16902
2.8 263 11546
4.0 185 8122
5.6 135 5927
8.0 94 4127
11.0 69 3029
Remember, you need to consider both the lens AND the film ((1/rsystem)2 = (1/rfilm) 2 * (1/rlens)
2 )
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What Do You See It all depends on the human eye
What is the lowest contrast you can see?
The very best eyes (eg: Not ME), can see down to 5% contrast
Under ideal circumstances the eye can resolve around 6 lp/mm on average
The distance between cones is 0.5 minute of arc
Two cones to separate detail (Nyquist); 1 min of arc
1 min of arc at 25cm = 8 lp/mm, AT BEST
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What Does It Mean
The data capacity of film, is VERY large…in theory Can only be realized under ideal, perfect conditions in an
optical lab Has nothing to do with the human eye, lenses or practical
lighting Motion pictures are shot under a variety of conditions
Differing lighting = differing contrast Various quality lensing systems The cinematographers visual accutance is in control
B/W film will always appear grainier than color BOTTOM LINE: Anywhere from 1K to 6K
Each film, actually each scene needs to be analyzed
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A suivre :
AMIA Vancouver novembre 2003
JTS Toronto juin 2004
JTC ISO et NIST avec participation CST ?
Merci pour votre attention
www.rbc-conseil.com