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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 cbaudio@qnet.com

Scott Wood – Digidesign scott_wood@digidesign.com

Keith Watanabe – FPC keithw@kodak.com

Elizabeth Cohen PhD – UCLA eacohen@ucla.edu

Larry Blake – Re-recording mixer swelltone@aol.com

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

m a k e m a n a g e m o v e | m e d i a TM

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AIFF

-by Apple

• PCM audio

• Name

• Date

• Comment

m a k e m a n a g e m o v e | m e d i a TM

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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

m a k e m a n a g e m o v e | m e d i a TM

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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

m a k e m a n a g e m o v e | m e d i a TM

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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

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 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!

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Thanks!

scott_wood@digidesign.com

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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

rbilleaud@compuserve.com

www.rbc-conseil.com