DATA CENTRIC VISION - part 1

[Mark L. Pederson]

I love your avatars !

thanks - I will try to change it every week or two - keep things lively here on REDUSER -

I am working on PART 3 - and actually, I am building a detailed schematic -

I am slammed under deadlines and getting ready for Sundance so it may not be until next weekend -

[Mike Seymour]

Much of this is already working.
http://www.codexdigital.com/

Partly from the guys at Sohonet.
This is/was an early RED partner as I am sure you know if you were on the booth at NAB.
With its wide and fast bandwidth, Codex can record uncompressed 4K, 2 x channels of 4:4:4 HD (for A & B camera, or 3D-configuration shoots), or even a single HD digital film camera at speeds of up to 60fps
from their web site : "Industry standards-compliant - designed to interface with just about any digital camera system, including RED Digital Cinema System"



Using a palm - data can be entered just as your suggesting and added to the meta stream. This can be done wirelessly. Plus it can output instant low res quicktimes etc - and it of course has docing stations with drives encased for continuous shooting on serious feature film projects.
They had one at NAB last year - but it was way over in a weird hall.

Now this is not for the indie film maker - this is a box for the serious features guy - or post house - but your part one stated that you were thinking about full feature film pipelines.

Mike

[Joe Carney]

Here is a competitor to eps scheduling that claims it's better, more flexible...

http://www.company-move.com/

download free trial if you want. Would appreciate feedback from pros familiar with the process.

Joe C.

[Mark L. Pederson]

Here is a competitor to eps scheduling that claims it's better, more flexible...

http://www.company-move.com/

download free trial if you want. Would appreciate feedback from pros familiar with the process.

Joe C.

Joe - thanks fo this - downloading demo now - going to give it a full test drive - but I can tell you - intergrated call sheet and production report make this one a no-brainer - if you add up how many man hours are spent just plugging in this data on a feature it truly is crazy - this looks VERY promising - I'll let you know what I think after I bang it against the wall -

[Mark L. Pederson]

Much of this is already working.
http://www.codexdigital.com/
Using a palm - data can be entered just as your suggesting and added to the meta stream. This can be done wirelessly. Plus it can output instant low res quicktimes etc - and it of course has docing stations with drives encased for continuous shooting on serious feature film projects.
They had one at NAB last year - but it was way over in a weird hall.

Now this is not for the indie film maker - this is a box for the serious features guy - or post house - but your part one stated that you were thinking about full feature film pipelines.

Mike

Thanks Mike - I have seen codex - I did not know they have wireless datastream - going to look very close at NAB - also going to look close at the KEISOKU GIKEN stuff -

[Mark L. Pederson]

XML is the ideal format for this sort of interchange...

An XML script format would allow for a machine-readable script that transparently passes all of this metadata along the various stages from pre to post. Different stages and departments could access the metadata they need.[/LIST]

You are correct Trevor - and Final Draft Tagger creates an XML file from the script -HOWEVER - in I have brainnstorming on WEB integration during the workflow and MICROFORMATS http://blog.mozilla.com/faaborg/2006...-introduction/http://microformats.org/ seems very interesting - I wish I could clone myself and develop this project full time -

[Joe Carney]

It would be nice if the film/broadcast industries develop something along the lines of the Open Document Format.
Here is a good primer

http://en.wikipedia.org/wiki/OpenDocument

[MikeCurtis]

Mark - touche, this is spot on about how it could/should work. PDA may be a bit small/UI cramped to pull all this off, perhaps a laptop might be more appropriate? That opens up other goodies, too, like stills extraction and embedding into the script database, etc...and like any good database, you should have lots of ways of looking at the data - don't think reports so much as views, a la FileMaker...oops, it calls them reports to. But keep these views live, dynamic, switchable, etc. - a script view, a VFX view, etc.

Obviously since lots of folks need to play, it is web client/server based. But, the whole thing could run on one laptop on set with a Wifi transponder...

[MikeCurtis]

PS - Mark -

my avatar thinks your avatar is hot.

I find this disturbing.

At least she has a shirt on now....

: )

-mike

[Joe Carney]

Mike, I write n-tier software for a living. You actually don't want direct access to the database(client/server) for security and development reasons. A fat or thin client to a mid tier interface (IIS, Apache, custom server...) which in turn talks to the necessary databases(s) is the preferred way now days. With VPN or similar security architectures you could use public wifi if needed. It's geting very easy and affordable to set up your own wireless hotspot on a movie set practically anywhere you can get electricity.

They even have wireless hubs that let you share a wireless broadband evdo card. If you got bars, you got a network.