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Shooting Features Faster, Better, Cheaper
Conception
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The Proposition
4k cameras (F65) duplicate film
resolution, dynamic range so DP can
shoot as if on film
Better sensitivity than film requiring less
light therefore less generator power
File based workflow reduces time and
labor
Reduce set up on set by deferring some
manipulation to digital intermediate
The Challenge
• New camera technology, started
shooting immediately F65 available
• Needs new workflows
• Large amount of data
SPTech Skills
• Knowing how directors and DPs shoot
• Practical experience with shooting
• Ability to create new production
workflows
Development
F65 System Testing
• Trialed on Sony produced demo footage
• SPE and production camera tests
• Lighting tests – types of light and levels
of lighting
Workflow Development
• Colorworks adds F65 support to near-set
dailies and PBB.
• Created workflow to shoot w/o a DIT
Education
Partnered with Productions to train
Directors and DPs on the F65.
Camera Operation
• Hands on assistance to productions
• Worked with Sony to resolve camera
issues and feed back productions’ needs
Technology Partners
• Sony to improve camera operation.
• FilmLight on tools for Dailies and DI.
SPE Confidential
Results
“After Earth”
• First SPE shoot using F65
• Colorworks designed near-set dailies
system deployed on location.
“Smurfs 2”
• Large scale EFX asset management
streamlined by PBB.
“No Good Deed”
• Shot on location with very little additive
lighting.
“About Last Night”
• Shot without a DIT - production is more
agile, camera moves are quicker
Across All Productions
• Assets pushed to PBB
• Pulled by editorial and EFX.
• Work with productions on-set to
characterized and fix F65 problems
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Content Protection Technology
Deal Makers
Home Entertainment
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EST
VOD
Premium VOD (early window)
AVOD
Hospitality
Physical media
Television
• SVOD
• OTT TV (including catch-up)
Non-theatrical
• In flight entertainment, cruise ships and
trains
Sony Pictures as licensee
• Crackle
• Channels (for OTT services)
Content Protection Deal
Negotiations
Over 200 Deals for SPHE & SPT
Including Amazon, AT&T, Avail, Bell,
BestBuy, Comcast, Cox, Crackle, DirecTV,
Dish, Filmbank, Foxtel, France Telecom,
HBO, Hulu, Intel, iTunes, Liberty UPC,
Lodgenet, Microsoft, MobiTV, MoviesNow,
Netflix, Orange, Rogers, Rovi, Shaw,
Showtime, Sky, Skype, Starz, Telefonica,
Tesco, etc.
Over 40 Non-theatrical Deals
Including Bluebox, Filmbank, IFE Services,
Lufthansa Systems, Panasonic, Rockwell
Collins, Row 44, Thales, Thomson
Aerospace, etc.
Crackle and Channels
Licensing content from Fox
SPE Confidential
Technology
Content Protection Standards
• Understand the technology.
• Understand and contribute to licensing
terms that define compliance and
robustness.
• Work to add better security to meet
evolving usage models.
• E.g. HDCP, DTCP, OMA, AACS, etc.
New Content Protection Technologies
• Gain knowledge and offer feedback on
new content protection technologies
• Use knowledge to move the market
Enhanced Content Protection
• High value content (4k, early window)
• Goal is that hacking only exposes one
title instead of all published titles.
Ultraviolet – DRM Interoperability
• 5 DRMs for EST
• 12 DRMs for streaming.
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Creating UltraViolet
The Challenge
Home Entertainment
Electronic sell-through (EST)
transactions are the highest margin.
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The Solution
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The State of the Market
EST launched but consumers were not
buying. Digital sell-through was
broken.
Proprietary digital services (e.g. iTunes,
Xbox, PlayStation), lock consumers
into a brand diminishing value of EST.
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Open Standards
Market needs open standards for digital
distribution similar to DVD and Bluray.
Cross-Industry Support
Build consensus across multiple
industries, CE, IT and Content
Providers, to support an open market
ecosystem and drive proprietary
services to an open platform.
The Organization
The Digital Entertainment Content
Ecosystem (DECE) was formed to fund
the development of an open and
interoperable rights locker service that
allows consumers to access their digital
collections from any Licensed service.
Raised Capital
Raised $8M in outside financing to
launch UV
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The Brand
Create a brand (Ultraviolet) that offers
consumers a consistent and predictable
experience accessing their collections
across all Ultraviolet services.
The Result
The Timeline
• Ultraviolet launched Oct 2011
• Live in US, UK, and Canada
• Live in Australia, New Zealand and
Ireland in 1st Q 2013
The Numbers
• More than 45 companies licensed
• 7,600+ titles from most major
Hollywood studios
• 7 Retailers live including;
Walmart/VUDU, Barnes and
Noble/Nook, Best Buy and Flixster
• More than 6.5 million household
accounts, and growing
• Can be watched on 200M++ devices in
US
Open Standards
Draft and license open specifications
allowing any third party service to offer
Ultraviolet services and devices
SPE Confidential
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Screening Room On-line(SRO) & Signal
The Challenge
Physical Media
Need to reduce the thousands of physical
elements being created / distributed in
order to reduce the risk of piracy and lower
costs.
New Devices
The proliferation of mobile devices such as
tablets, iPads, iPhones, etc. only adds
complexity that needs to be addressed as
end-users request content to be delivered
to these devices
The Results
The Solution
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Use Existing Resources
Use our existing, internally developed
digital media repository to supply content
through a new interface
A Complete Solution
The SRO system together with the Signal
system can provide a complete screener
solution and can be used with all types of
digital media: video, audio, pdf, etc.
• SRO is a web based streaming
application that allows end-users to view
content on Pcs, Macs, iPads, and tablets
while connected to the internet.
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On-Device Storage
Signal allows for the delivered content to
be stored on the local device thus
eliminating the need for connectivity giving
the user more freedom to view the content
anywhere once it has been downloaded.
SPE Confidential
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Screening Room On-Line (SRO)
600+ users and 6500+ views since
June 2012 launch
Improved security – screeners are
individually watermarked to the
viewer to trace back if leaked; video
watermarks can survive camcorder
recordings
Cost savings – eliminate $1.5M in
costs for physical DVD screeners
annually for SPT, SPHE, Marketing
Signal
Push encrypted content to user’s
mobile devices that is controlled
centrally with content protection
Currently used by Publicity to provide
content to various talk shows
Currently rolling out to SPT Cable Sales
clients(60+ users) for theatrical
screener content.
Currently rolling out to SPT Sales
executives(44 sales execs worldwide)
for Television content.
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Shooting 3D on a 2D schedule and budget
Conception
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The Problem
“The bottom line is, if you want to do
good 3D, it’s very expensive. The
camera equipment is expensive because
it comes with a lot of techs, the labor.
[…] And there’s a lot of tech fixes -- it’s
not easy shooting 3D.”
-- Michael Bay
The Proposition
With the right plan and the right equipment
you can shoot 3D on the same schedule as
2D, with at most 3 additional crew and 3D
post is primarily for adjusting depth to meet
creative intent.
The Skills
• Knowing what makes good 3D.
• Experience with rigs.
• Workflows for productions from TV to
major motion pictures
Development
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3D Systems Testing
Speed of initial set up
Ability to not need repeated
adjustments
Time to change lens
Resilience to real-world handling
Trial Runs
Successfully shot episodes of “Happy
Endings” and “Days of Our Lives” in 3D on
the same schedule as normal. 2D version
taken from one camera on each rig and
aired as part of normal run.
Operation
Screen Gems
“Planet B Boys” feature shoots in 3D on
Screen Gems normal 2D schedule of 35
days. Average 40 set ups a day, three rigs in
simultaneous use. Only incremental cost of
3D is rig and three crew members. Never
waited for 3D. No 3D correction or
conversion needed for rig footage.
SPT’s Left Bank Productions
Episode of BSkyB’s “Little Crackers” shoots
in 3D in 4 days after one day training for
crew. Incremental cost of 3D is rig and two
crew members. Producers want to shoot
more Sky shows in 3D.
Workflow
Colorworks designs near-set dailies system
for “Planet B Boys”, footage stored and
managed on Production Backbone.
SPE Confidential
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