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THE WORKFLOW OF ENDER'S GAME

Michael Cioni

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6381 DeLongpre | LA | CA | 90028
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www.lightiron.com
To my friends on RED USER:
This is an excerpt from my latest blog entry that includes a very special picture into the workflow of the EPIC feature film, ENDER'S GAME. Because workflow is such a powerful cornerstone to digital cinema, I believe sharing and learning from different workflows can help the overall development and maturity of reliable and robust digital cinema solutions.

All too often, we find ourselves losing battles because we are fighting them on the terms of our adversaries. The story of David and Goliath is not one of luck, but one of control. David new that the source of Goliath's greatest strength was simultaneously the source of his biggest weakness: Size. And that's exactly what the information age is proving over and over and over again: The size, age, and design of giants can be overtaken by newer, smaller, and innovative ideas that are not playing by the same rules.

Recently, the Light Iron team had the pleasure of collaborating with one of the best cinematographers of all time, Don McAlpine, on the film, Ender's Game. Like us, Don recognizes Goliath when he sees him and has no intention of falling into a trap.
In Don's words, "I chose RED because the Hollywood establishment had produced so much anti-propoganda that I knew it must be equal or superior to the more established equipment. While I will leave the future equipment requirements to younger and more agile minds than mine, I will, however, be very pleased to consider any device that can expend our vision."
Fittingly, Ender's Game is a film about strength and weakness and an unlikely character who succeeds by holding strong to a vision that others lack.

To my friends and colleagues: Whenever I am engaged in situations that I do not control I get confused, I become fearful, and I am prone to make mistakes in a battle I most likely cannot win. It's overwhelming. I know many of you know what that feels like. But when I take control, make predictions, and adequately prepare based on known weaknesses, I can face the biggest giants with the certainty I will succeed. In the business of digital cinema, when you arm yourself with workflow and innovation, you move the odds in your favor. This is the story of how just a few self-driven people armed with workflow and innovation were able to manage one of the biggest films of the year. And it's a story that if you "get it," demonstrates how you can accomplish exactly the same thing.


https://vimeo.com/78581143

http://michaelcioni.tumblr.com
 
Powerfull
Thanks for sharing
 
Sheer brilliance ....

Sheer brilliance ....

To my friends on RED USER:
This is an excerpt from my latest blog entry that includes a very special picture into the workflow of the EPIC feature film, ENDER'S GAME. Because workflow is such a powerful cornerstone to digital cinema, I believe sharing and learning from different workflows can help the overall development and maturity of reliable and robust digital cinema solutions.

All too often, we find ourselves losing battles because we are fighting them on the terms of our adversaries. The story of David and Goliath is not one of luck, but one of control. David new that the source of Goliath's greatest strength was simultaneously the source of his biggest weakness: Size. And that's exactly what the information age is proving over and over and over again: The size, age, and design of giants can be overtaken by newer, smaller, and innovative ideas that are not playing by the same rules.

Recently, the Light Iron team had the pleasure of collaborating with one of the best cinematographers of all time, Don McAlpine, on the film, Ender's Game. Like us, Don recognizes Goliath when he sees him and has no intention of falling into a trap.
In Don's words, "I chose RED because the Hollywood establishment had produced so much anti-propoganda that I knew it must be equal or superior to the more established equipment. While I will leave the future equipment requirements to younger and more agile minds than mine, I will, however, be very pleased to consider any device that can expend our vision."
Fittingly, Ender's Game is a film about strength and weakness and an unlikely character who succeeds by holding strong to a vision that others lack.

To my friends and colleagues: Whenever I am engaged in situations that I do not control I get confused, I become fearful, and I am prone to make mistakes in a battle I most likely cannot win. It's overwhelming. I know many of you know what that feels like. But when I take control, make predictions, and adequately prepare based on known weaknesses, I can face the biggest giants with the certainty I will succeed. In the business of digital cinema, when you arm yourself with workflow and innovation, you move the odds in your favor. This is the story of how just a few self-driven people armed with workflow and innovation were able to manage one of the biggest films of the year. And it's a story that if you "get it," demonstrates how you can accomplish exactly the same thing.


https://vimeo.com/78581143

http://michaelcioni.tumblr.com

Absolutely brilliant , Michael ... both the data and color pipeline you set up for EG and the BTS documentary you shared on Vimeo ... true genius, Sir!

Very impressive and a great lesson in innovation that all Red filmmakers would be advised to watch, absorb and learn from.

Keep up the stunning work, matey.

All the best to you and your fine team of fearless lions.

Neil
 
That was a nice watch and very concise Michael. Interesting dual color workflow and I enjoyed a good deal of the near neutral palette explored in one of the main looks when "in the game".
 
MC

Simply the best.
 
I like the pushing of boundaries and love LI insistence on DITs but I've got two questions about workflow efficiency. Wouldn't it make more sense to generate LTOs from set than having to wait for drives to be shipped back to Los Angeles? I'm surprised Redmags were cleared before the LTOs were generated. And along this same line wouldn't it have been easier for the 96TB SAN to be located at the NASA facility were production was taking place so the VFX pulls could be done immediately on-site?
 
Dynamite presentation, Michael. I think I enjoyed this more than I did the movie!
 
Always inspiring. Thanks.
 
Great stuff indeed Michael and so was the presentation itself, so my compliments here go both to you for your yet again elegant and precise way of expressing what really matters in pour Digital times and to how well the resonation was done, unless it is both you... Either way, very well done!!
 
Great stuff, but...

One the main advantages of Epic, if not the main, as compared to other cameras that are perceived as having better color rendition and DR is the resolution of course. Michael has pointed out twice, now with EG now and before with Haywire and GWDT that they use sensor crops or extractions, and though I see the value in having a little room for reframing, from my own experience, an Epic frame with only 800 vertical pixels tends to be soft and not very flexible before noise appears. Sort of like the same problem exibited by some Alexa features. Was this the case, or did I hear wrong and they somehow downsampled some of the material?

And for those who may feel the presentation might, at times, be somewhat a little too self aggrandizing, well, sometimes when true innovation is being ignored (or worse, not understood) by others around, it falls on the innovators' own shoulders to blow their own horn to unclog those deaf ears.
 
I don't think you sleep. Ever. Love the entire case study, you are so good explaining things in a clear and concise manner. It is simply amazing to consider the amount of well-executed orchestration that came together to produce the film. Planning was obviously key here as it boggles the mind to consider the many iterations needed to be coordinated for each participant. Remarkable.

Haven't seen the movie yet, but am looking forward to it. Great work, again and as usual.
 
Michael:

Great insights. Can't thank you enough for putting this short together.

The ACA could use LightIron's help to get their workflow on track ;-)

Best:
Joel
 
I like the pushing of boundaries and love LI insistence on DITs but I've got two questions about workflow efficiency. Wouldn't it make more sense to generate LTOs from set than having to wait for drives to be shipped back to Los Angeles? I'm surprised Redmags were cleared before the LTOs were generated. And along this same line wouldn't it have been easier for the 96TB SAN to be located at the NASA facility were production was taking place so the VFX pulls could be done immediately on-site?


Great question, Adrian-
For optimizing any workflow, it often falls in context. Here are some contextual elements that led to the decision:
1. The VFX pulling process can't be done until the edit room is able to distinguish which takes and frames need to be pulled = no advantage to pulling in the field
2. Pulling 350,000 frames takes up a lot of space and Digital Domain is located in Los Angeles = so pulling and sending shots/frames in the same city as the location of o-neg is ideal.
3. Spinning disks (what I call active storage) are much faster to pull from in an LTO (what I call passive storage) = when a pull list comes in with 45 shots, we can load the list, transform, pull and move to a shuttle drive or FTP site in an hour.
4. O-Neg isn't needed in LA for more than a few weeks (well after photography) and therefore the 1-week shoebox shuttle is a safe, fast, and efficient way to move o-neg in bigger chunks across the country.
5. SAS "Shoebox" raids allow us to move data at about 500MBs per second. This means getting a large data dump and being able to QC and move it quickly actually takes LESS overall time at Light Iron than to do it daily with slower methods.

Because the set had 3 verified copies plus the shuttle shoebox, there was no reason not to recycle the SSDs. Part of this is how we qualify LTO. Some companies consider LTO as "go-to-source" for data, especially on large films of over 50TBs of storage. Economically, LTO is about $0.06 per gig and a spinning disk is about $0.18 per gig. So you have to do the metrics on price-per-gig vs. price-per-pull. When you weigh those together, sometimes the time advantage plus the inexpensive pull cost of spinning disk yields better than data off LTO. Because of this, 99% of Light Iron features are managed off custom-built SAS raids and Shoeboxes.


So geography, turn-arund and speed are all reasons these choices were made. -Not right for every job, that's for sure, but it works very well for some jobs.
Great question and attention to details.

m
 
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