Tag Archives: Colorfront

HPA Tech Retreat: Cloud workflows in the desert

By Tom Coughlin

At the 2020 HPA Retreat, attendees witnessed an active production of the short The Lost Lederhosen. This film used the Unreal gaming engine to provide impressive graphical details, along with several cameras and an ACES workflow, with much production work done in the cloud. Many of the companies and studios participating in the retreat played a role in the film’s production, and the shooting and post were part of the ongoing presentations and panels on the first official day of the conference. Tuesday’s sessions ended with Joachim Zell from Efilm and Josh Pines from Technicolor showing the completed video.

Shooting The Lost Lederhosen – director Steve Shaw is at the far right.

As you can imagine, several digital storage products were needed for The Lost Lederhosen. In checking out the production rig in the back of the conference room, I saw some G-Tech modular storage units and was told that there was an Isilon storage system on the other side of the wall — a giveaway because of the noise from the fans in the system. In one of the sessions on that first day, it was reported that 5TB of total footage was shot with 500GB left after conforming using Avid Media Composer with AAF. Editing was done in the cloud with Avid Nexis 30TB storage online. During dailies AWS CLI was used to push files to S3 for a common storage location. Pixmover from Pixspan was used to move data to and from LA, along with AWS S3 storage in the San Francisco Bay area.

Colorfront supported the cloud-based live production of the HPA video and did a demonstration of its 2020 Express Dailies that was used to do all the dailies and deliverables, as well as Transkoder which was used to do all the VFX pulls. Frame.io, which was used to move content from cameras to the cloud. A Mac Pro was feeding dual Apple 32-inch Retina Pro XDR displays showing 6K HDR content. Colorfront was displaying Transkoder 2020 running on a Supermicro workstation with four Nvidia GeForce RTX 2080 Ti GPUs and an AJA Kona 5 video card outputting to an 85-inch Sony Z9G HDR monitor and an AJA HDR Image Analyzer 12G for video analytic monitoring.

Metadata for video content was an important element in the HPA presentations, which included the ASC MHL (media hash list) that hashes files and folders in a standardized way, with essential file metadata in an XML human-readable format. The ASC MHL is used from data capture and offloading through backup and archiving, and it is an important element in restoring content as shown below. The ASC HML is available on github (https://github.com/ascmitc/mhl) and is still a work in progress.

The following day, Tech Retreat main conference producer Mark Schubin said that film hasn’t died yet and that Kodak had received orders from Disney, NBCUniversal, Paramount, Sony and Warner Bros. for motion picture film stock. He talked about what might be the world’s smallest camera, a small endoscopy image chip with 200×200 resolution. And he mentioned Microsoft’s Project Silica proof of concept — a 7.5cm x 7.5cm glass plate storing the 75.6GB Superman movie — as a possible long-term storage media.

MovieLabs

MovieLabs
The MovieLabs white paper released in August 2019, “The Evolution of Media Creation,” was referenced in several talks during the HPA retreat. The paper, created in cooperation with the major film studios, suggests a path to the future of moviemaking, and that path is in the cloud. You can read it here: https://movielabs.com/production-technology

During the SMPTE 2110 IP update, it was said that most new video trucks for the UK’s NEP are built for 2110 IP compliance. There are a total of 12 IP-enabled trucks, six IP control rooms and multiple IP flypacks (backpack IP video gear). In a panel organized by the Digital Production Partnership, the DPP’s Mark Harrison gave a presentation that included information on on-side and cloud storage for M&E applications. He spoke about the 2020 report from the DPP and 10 case studies from the M&E industry of companies that have all adopted cloud-led production for different reasons. We will look at the digital storage needs for three of these case studies.

It was reported that COPA90 is doing high-volume global content management with a cloud production hub and AI using the Veritone Digital Media Hub and IBM Cloud Storage, as shown below.

France TV is doing fast turnaround of high-end drama using cloud-based metadata enrichment with AWS, Azure, a private cloud and local storage before going into Avid Nexis storage, Avid Interplay and Media Composer.

UK’s Jellyfish Pictures is reportedly doing secure distributed high-volume virtualized production using Azure public cloud and a private cloud with PixStor storage.

There are five key principles in the Eluvio content fabric.

Distributed Content Delivery
Eluvio’s Michelle Munson gave an update on the company’s distributed content delivery service, and during a demo at the company’s booth, she told me that Eluvio’s approach keeps the master copy for distribution in cold storage, with the published serviceable content inherently streamable. By reusing distributed parts of content within the network, there is a considerable shrink in requirements for storage. In effect, the fabric replaces a hot storage tier, reducing higher-performance storage and network bandwidth requirements.

In her presentation, Munson said that Eluvio eliminates the need for cloud microservices for content distribution. The blockchain-based network system provides an inherent security model that makes it possible to serve audiences directly over public internet to enable a content fabric. This is not a cloud or a CDN, but rather a data distribution and storage protocol. Rendering is done at the consumer endpoint, allowing consumers to play content just in time with low latency, and monetization happens through secure transactions. MGM is deploying Eluvio’s technology for worldwide content distribution, and some other major media players are also working with the technology.

Renard Jenkins

There are five key principles in the Eluvio content fabric. First, there is no movement of the master copy; a mezzanine copy is used for all servicing. Second, a file-based interface is used for upload and download with underlying objects. Third, streaming and servicing are accomplished from the source in a JIT manner. Fourth, it uses a trustless encryption model over open networks, and fifth, access control and rights management are built in.

Best Practices for Cloud-Based Workflows
MediAnswers’ Chris Lennon and PBS’ Renard Jenkins (who subsequently started work as VP, content transmission, at WarnerMedia) spoke about the right way to do cloud-based workflows, which included local as well as cloud content copies. They gave three principles for survival. First, IT is not IP, and a network should be designed around media use and minimizing packet loss. Second, build or find cloud-native solutions rather than “lift and shift.” Third, linear workflows lead to nonlinear problems.

Universal and the Cloud
Universal’s Annie Chang spoke about tools for the next generation of production, including the use of cloud-based tools such as temporary production storage and an active archive for production assets. She went on to detail future cloud workflows wherein content goes from the camera directly to the cloud (or, if on film, from a digital intermediate post house to the cloud). Editing, dailies distribution and EDL are all done in the cloud, as is final archiving.

Chang said that the move to a mostly cloud-based workflow is already starting at Universal. She reported that DreamWorks Animation (DWA) has built a cloud-native platform that creates workspaces for its artists. Assets are related to each other, and workflows can be kicked off through microservices. She wondered if Universal could repurpose the DWA platform for live-action, VFX assets and workflows.

Universal

Chang discussed an experiment wherein Universal took one shot from Fast & Furious Presents: Hobbs & Shaw (including reference photos, LIDAR scans, camera raw) and demonstrated a VFX pull on premises at DWA while also testing in a public cloud. When Universal ran the content from the cloud and showed it to Universal VFX execs and the VFX producer from Hobbs & Shaw, Chang was told that this was something they have wanted for a decade. Developing the platform this year, Universal plans to test it on a full production in 2021. The company has 10 concurrent projects and is coordinating with multiple industry efforts with ACES, USC ETC and MovieLabs.

ACES
There was much discussion on the next developments for ACES (Academy Color Encoding System), particularly the implementation of ACES 1.2 and the development of ACES 2.0. A panel at the retreat suggested that practical problems with image matching with the current version of ACES could be solved by using AMF (ACES Metadata File). But there are some image matching problems that are not ACES-related but rather related to the source of the image and what sort of format is used for comparison. ACES 2.0 development is underway that plans to address these and other issues with the current version of ACES.

Storage
The digital storage exhibitors at the HPA Retreat included Cloudian (local object storage), which demonstrated with AWS, Azure, Google and other cloud storage services. Quantum had an exhibit that focused on its media and storage solutions, such as StorNext Workflow Storage Platform, F-Series NVMe storage, Xcellis high-performance workflow storage appliances and the its object storage and tape archive solutions. (Note that Quantum recently acquired Western Digital’s ActiveScale object storage.)

Racktop was advertising its Brickstor all-flash or hybrid HDD/SSD CyberConverged data storage offering, which supports FIPS 140-2 and AES-256 for encryption and compliance. Rohde & Schwarz was demoing IMF-based workflows with its Spycer Node media storage.

Rohde & Schwarz

Scale Logic featured its Atavium data management and orchestration solution. According to the product literature, data entering Atavium is identified, tagged and classified and can be searched via metadata or tags whether the data is on premises or in the cloud. Also, tasks can be automated using a combination of metadata and tags and a set of APIs and scheduler and application integration determine the placement of data to reflect the needs of the workflow. Local storage includes nearline HDDs as well as NVMe flash, and DRAM is used for read-ahead cache. The system will work with Spectra Logic’s Black Pearl and integrates with asset management systems.

Seagate Technology was showing storage products, including its Lyve Drive Shuttle for physical data delivery using e-ink and protective cases for shipping storage devices. The company had flyers out on its Seagate Exos modular storage for capacity and the Seagate Nytro modular storage for performance. Pixit Media was partnering with Seagate on its software-defined storage solution.

StorageDNA was showing its analytics-driven data management platform (DNAfabric) that provides data visibility services, including storage capacity and cost as well as data mobility services. Tiger Technology was showing its Tiger Bridge and shared an exhibit space with Nexsan NAS products. Western Digital was showing various G-Tech products, including its G-Speed Shuttle storage systems as well as desktop and mobile HDD and SSD storage devices.


Tom Coughlin is a digital storage analyst and business and technology consultant. His Coughlin Associates consults, publishes books and market and technology reports (such as the annual Digital Storage in Media and Entertainment Report ). He is currently working on his 2020 Digital Storage in Media and Entertainment Survey, feel free to participate:  https://www.surveymonkey.com/r/MWXL22N

 

 

AJA adds HDR Image Analyzer 12G and more at IBC

AJA will soon offer the new HDR Image Analyzer 12G, bringing 12G-SDI connectivity to its realtime HDR monitoring and analysis platform developed in partnership with Colorfront. The new product streamlines 4K/Ultra HD HDR monitoring and analysis workflows by supporting the latest high-bandwidth 12G-SDI connectivity. The HDR Image Analyzer 12G will be available this fall for $19,995.

HDR Image Analyzer 12G offers waveform, histogram and vectorscope monitoring and analysis of 4K/Ultra HD/2K/HD, HDR and WCG content for broadcast and OTT production, post, QC and mastering. It also features HDR-capable monitor outputs that not only go beyond HD resolutions and offer color accuracy but make it possible to configure layouts to place the preferred tool where needed.

“Since its release, HDR Image Analyzer has powered HDR monitoring and analysis for a number of feature and episodic projects around the world. In listening to our customers and the industry, it became clear that a 12G version would streamline that work, so we developed the HDR Image Analyzer 12G,” says Nick Rashby, president of AJA.

AJA’s video I/O technology integrates with HDR analysis tools from Colorfront in a compact 1-RU chassis to bring HDR Image Analyzer 12G users a comprehensive toolset to monitor and analyze HDR formats, including PQ (Perceptual Quantizer) and hybrid log gamma (HLG). Additional feature highlights include:

● Up to 4K/Ultra HD 60p over 12G-SDI inputs, with loop-through outputs
● Ultra HD UI for native resolution picture display over DisplayPort
● Remote configuration, updates, logging and screenshot transfers via an integrated web UI
● Remote Desktop support
● Support for display referred SDR (Rec.709), HDR ST 2084/PQ and HLG analysis
● Support for scene referred ARRI, Canon, Panasonic, Red and Sony camera color spaces
● Display and color processing lookup table (LUT) support
● Nit levels and phase metering
● False color mode to easily spot pixels out of gamut or brightness
● Advanced out-of-gamut and out-of-brightness detection with error intolerance
● Data analyzer with pixel picker
● Line mode to focus a region of interest onto a single horizontal or vertical line
● File-based error logging with timecode
● Reference still store

At IBC 2019, AJA also showed new products and updates designed to advance broadcast, production, post and pro AV workflows. On the stand were the Kumo 6464-12G for routing and the newly shipping Corvid 44 12G developer I/O models. AJA has also introduced the FS-Mini utility frame sync Mini-Converter and three new OpenGear-compatible cards: OG-FS-Mini, OG-ROI-DVI and OG-ROI-HDMI. Additionally, the company previewed Desktop Software updates for Kona, Io and T-Tap; Ultra HD support for IPR Mini-Converter receivers; and FS4 frame synchronizer enhancements.

AJA ships HDR Image Analyzer developed with Colorfont

AJA is now shipping HDR Image Analyzer, a realtime HDR monitoring and analysis solution developed in partnership with Colorfront. HDR Image Analyzer features waveform, histogram and vectorscope monitoring and analysis of 4K/UltraHD/2K/HD, HDR and WCG content for broadcast and OTT production, post, QC and mastering.

Combining AJA’s video I/O with HDR analysis tools from Colorfront in a compact 1RU chassis, the HDR Image Analyzer features a toolset for monitoring and analyzing HDR formats, including Perceptual Quantizer (PQ) and Hybrid Log Gamma (HLG) for 4K/UltraHD workflows. The HDR Image Analyzer takes in up to 4K sources across 4x 3G-SDI inputs and loops the video out, allowing analysis at any point in the production workflow.

Additional feature highlights include:
– Support for display referred SDR (Rec.709), HDR ST 2084/PQ and HLG analysis
– Support for scene referred ARRI, Canon, Panasonic, Red and Sony camera color spaces
– Display and color processing look up table (LUT) support
– Automatic color space conversion based on the award winning Colorfront Engine
– CIE graph, vectorscope, waveform and histogram support– Nit levels and phase metering
– False color mode to easily spot out-of-gamut/out-of-brightness pixels
– Advanced out-of-gamut and out-of-brightness detection with error intolerance
– Data analyzer with pixel picker
– Line mode to focus a region of interest onto a single horizontal or vertical line
– File-based error logging with timecode
– Reference still store
– UltraHD UI for native-resolution picture display
– Up to 4K/UltraHD 60p over 4x 3G-SDI inputs, with loop out
– SDI auto signal detection
– Loop through output to broadcast monitors
– Three-year warranty

The HDR Image Analyzer is the second technology collaboration between AJA and Colorfront, following the integration of Colorfront Engine into AJA’s FS-HDR realtime HDR/WCG converter. Colorfront has exclusively licensed its Colorfront HDR Image Analyzer software to AJA for the HDR Image Analyzer.

The HDR Image Analyzer is available through AJA’s worldwide reseller network for $15,995.

Colorfront supports HDR, UHD, partners again with AJA

By Molly Hill

Colorfront released new products and updated current product support as part of NAB 2018, expanding their partnership with AJA. Both companies had demos of the new HDR Image Analyzer for UHD, HDR and WCG analysis. It can handle 4K, HDR and 60fps in realtime and shows information in various view modes including parade, pixel picker, color gamut and audio.

Other software updates include support for new cameras in On-Set Dailies and Express Dailies, as well as the inclusion of HDR analysis tools. QC Player and Transkoder 2018 were also released, with the latter now optimized for HDR and UHD.

Colorfront also demonstrated its tone-mapping capabilities (SDR/HDR) right in the Transkoder software, without the FS-HDR hardware (which is meant more for broadcast). Static (one light) or dynamic (per shot) mapping is available in either direction. Customization is available for different color gamuts, as well as peak brightness on a sliding scale, so it’s not limited to a pre-set LUT. Even just the static mapping for SDR-to-HDR looked great, with mostly faithful color reproduction.

The only issues were some slight hue shifts from blue to green, and clipping in some of the highlights in the HDR version, despite detail being available in the original SDR. Overall, it’s an impressive system that can save time and money for low-budget films when there isn’t the budget to hire a colorist to do a second pass.

2017 HPA Engineering Excellence Award winners

The HPA has announced the winners of the 2017 Engineering Excellence Award. Colorfront, Dolby, SGO and Red Digital Cinema will be awarded this year’s honor, which recognizes “outstanding technical and creative ingenuity in media, content production, finishing, distribution and/or archiving.”

The awards will be presented November 16, 2017 at the 12th annual HPA Awards show in Los Angeles.

The winners of the 2017 HPA Engineering Excellence Award are:

Colorfront Engine
An automatically managed, ACES-compliant color pipeline that brings plug-and-play simplicity to complex production requirements, Colorfront Engine ensures image integrity from on-set to the finished product.

Dolby Vision Post Production Tools
Dolby Vision Post Production Tools integrate into existing color grading workflows for both cinema and home deliverable grading, preserving more of what the camera originally captured and limiting creative trade-offs.

SGO’s Mistika VR
Mistika VR is SGO’s latest development and is an affordable VR-focused solution with realtime stitching capabilities using SGO’s optical flow technology.

Red’s Weapon 8K Vista Vision
Weapon with the Dragon 8K VV sensor delivers stunning resolution and image quality, and at 35 megapixels, 8K offers 17x more resolution than HD and over 4x more than 4K.

In addition, honorable mentions will also be awarded to Canon USA for Critical Viewing Reference Displays and Eizo for the ColorEdge CG318-4K.

Joachim Zell, who chairs the committee for this award, said, “Entries for the Engineering Excellence Award were at one of the highest levels ever, on a par with last year’s record breaker, and we saw a variety of serious technologies. The HPA Engineering Excellence Award is meaningful to those who present, those who judge, and the industry. It sounds a bit cliché to say that we had a very tight outcome, and it was a really competitive field this year. Congratulations to the winners and to the nominees for another great year.”

The HPA Awards will also recognize excellence in 12 craft categories, covering color grading, editing, sound and visual effects, and Larry Chernoff will receive the 2017 HPA Lifetime Achievement award.

Colorfront demos UHD HDR workflows at SMPTE 2015

Colorfront used the SMPTE 2015 Conference in Hollywood to show off the capabilities of its upcoming 2016 products supporting UHD/HDR workflows. New products include the Transkoder 2016 and On-Set Dailies 2016. Upgrades allow for faster, more flexible processing of the latest UHD HDR camera, color, editorial and deliverables formats for digital cinema, high-end episodic TV and OTT Internet entertainment channels.

Colorfront’s Bruno Munger filled us in on some of the highlights:

More details:
·   Transkoder and On-Set Dailies feature Colorfront Engine, an ACES-compliant, HDR-managed color pipeline, enabling on-set look creation and ensuring color fidelity of UHD/HDR materials and metadata though the camera-to-post chain. Colorfront Engine supports the full dynamic range and color gamut of the latest digital camera formats and mapping into industry-standard deliverables such as the latest IMF specs, AS-11 DPP and HEVC, at a variety of brightness, contrast and color ranges in current display devices.
·   The mastering toolset for Transkoder 2016 is enhanced with new statistical analysis tools for immediate HDR data graphing. Highlights include MaxCLL and MaxFALL calculations, as well as HDR mastering tools with tone and gamut mapping for a variety of target color spaces, including Rec. 2020 and P3D65, as well as XYZ, PQ curve and BBC-NHK Hybrid Log Gamma.
·    New for Transkoder 2016 are tools to concurrently color grade HDR and SDR UHD versions, cutting down the complexity, time and cost of delivering multiple masters at once.
·    Transkoder 2016 will output simultaneous, realtime grades on 4K 60p material to dual Sony OLED BVM-X300 broadcast monitors — concurrently processing HDR 2084 PQ Rec. 2020 at 1000nits and SDR Rec. 709 at 100nits — while visually graphing MaxFALL/MaxCLL light values per frame.

Advanced dailies toolsets enhancements include:
·    Support for the latest camera formats, including full Panasonic Varicam35 VRAW, AVC Intra 444, 422 and LT support, Canon EOS C300 Mark II with new Canon Log2 Gamma, ARRI Alexa 65 and Alexa SXT, Red Weapon, Sony XAVC and the associated image metadata from all of these.
·    The new Multi-view Dailies capability for On-Set Dailies 2016, which allows concurrent, realtime playback and color grading of all cameras and camera views.
·    Transwrapping, which allows video essence data (the RAW, compressed audio/video and metadata inside a container such as MXF or MOV) to be passed through the transcoding process without re-encoding, enabling frame-accurate insert editing on closed digital deliverables. This workflow can be a great time saver in day-to-day production, allowing Transkoder users to quickly generate new masters based on changes and versioning of content in the major mastering formats, like IMF, DCI and ProRes, and efficient trimming of camera original media for VFX pulls and final conform from Arri, Red and Sony cameras.

IBC 2015 Blog: Rainy days but impressive displays, solutions

By Robert Keske

While I noted in my first post that we were treated to beautiful weather in Amsterdam during the first days of IBC 2015, the weather on day four was not quite as nice… it was full of rain and thunderstorms, the latter of which was heard eerily through the RAI Exhibition Centre.

CLIPSTER

The next-gen Clipster

I spent day three exploring content delivery and automation platforms.

Rohde & Schwarz’s next-gen Clipster is finally here and is a standout — built on an entirely new hardware platform. It’s seamless, simplified, faster and looks to have a hardware and software future that will not require a forklift upgrade. 

Colorfront, also a leader in on-set dailies solutions, has hit the mark with its Transkoder product. The new HDR mathematical node is nothing less than impressive, which is nothing less than expected from Colorfront engineering.

Colorfront Transkoder

Colorfront Transkoder

UHD and HDR were also forefront at the show as the need for higher quality content continues to grow, and I spent day four examining these emerging display and delivery technologies. Both governments and corporate entities are leading the global community towards delivery of UHD to households starting in 2015, so I was especially interested in seeing how display and content providers would be raising the standards in display tech.

Sony, Samsung and Panasonic (our main image) all showcased impressive results to support UHD and HDR, and I’m looking forward to seeing what further developments and improvements the industry has to offer for both professional and consumer adoption.

Overall, while its seemed like a smaller show this year, I’ve been impressed by the quality of technology on display. IBC never fails to deliver a showcase of imagination and innovation and this year was no different.  

New York-based Robert Keske is CIO/CTO at Nice Shoes (@NiceShoesOnline).

Bruno Munger joins Colorfront to head up biz dev

Colorfront, makers of on-set dailies and transcoding systems for films, episodic television and commercials, has named Bruno Munger director of business development. He brings 25 years of experience to his new position, including expertise in workflow design for file-based 2D/3D image capture, file-based delivery, VFX and DI color grading.

The LA-based Munger will work directly with Colorfront CTO Bill Feightner to further develop the company’s services and consulting business. Additionally, he will focus on the continuing roll-out of Transkoder, the company’s standalone file-conversion and mastering system for digital cinema and high-end UHDTV production. He will also oversee sales expansion of Colorfront’s Express Dailies and On-Set Dailies systems.

Previously, Munger worked at Colorfront reseller ALT Systems — the LA-based, full-service, systems integrator and workflow solutions provider for the entertainment industry — where he was CTO and company VP.

During a four-and-a-half year stint at ALT Systems, Munger managed the expansion of business services, especially in the area of on-set dailies solutions, and oversaw sales and implementations of Colorfront systems at film and high-end television post studios, including Technicolor, HBO, Bling Digital, Deluxe and 21st Century Fox. Colorfront will continue to work closely with ALT Systems as its main US distributor and reseller.

Prior to working at ALT Systems, Munger was involved in product management, product design, business development and customer training for Digital Vision, Autodesk, MTI Film and Snell & Wilcox.

Colorfront names image-science expert Bill Feightner CTO

BUDAPEST, HUNGARY — Colorfront (www.colorfront.com), a developer of high-performance, on-set dailies and transcoding systems for motion picture, high-end episodic HDTV and commercials production, has named image-science expert Bill Feightner chief technology officer.

Feightner’s appointment at Colorfront coincides with him being awarded the 2013 Technicolor/Herbert T. Kalmus Medal, by the Society of Motion Picture and Television Engineers (SMPTE), for his extensive contribution to the art and science of digital motion picture film image science.

Based in Los Angeles,  Feightner will lead Colorfront’s services and consulting business. He will also drive the development of Colorfront’s tools into new areas color and image-science, calibration, as well as remote, collaborative production and post production operations.

He brings over 35 years of experience to Colorfront, beginning his career as technical director of Compact Video before moving on to similar roles at Laser Edit and Composite Image Systems (CIS). He was co-founder and, most recently, CTO /executive VP of technology at Efilm Digital Labs (part of Deluxe Entertainment Services Group).

At Laser Edit, Feightner created a live, realtime, multilayer VFX compositing system, and continued this pioneering approach at CIS, where he helped to develop the 2K pin-registered telecine system that revolutionized the process of interactive image compositing for feature films.

At Efilm his innovations included new software for digital laboratory calibration; image processing and image management software; end-to-end, multi-site, collaborative workflow procedures and software; the fully-digitally timed DI pipeline on We Were Soldiers (2002); and the 4K DI finish on Spiderman 2 (2004). He was also responsible for the workflow on Extremely Loud & Incredibly Close (2011), the first US feature to shoot and post using the ArriRaw format. During his time at Efilm, Feightner worked closely with Colorfront on many projects.

Colorfront will reveal details about the 2014 versions of its Express Dailies, On-Set Dailies, Transkoder, plus future products and services, during a Colorfront User Group meeting on Saturday, October 19, at Sony’s Digital Motion Picture Centre, Culver City, prior to exhibiting at the SMPTE 2013 Annual Technical Conference and Exhibition, 21-24 October, in Hollywood.