System Architecture
Offline System Specifications (Gone Girl) 4x MacPro 2012 2x MacPro 2011 - 64 GB DDR3 RAM - 32 GB DDR3 RAM - NVIDIA K5000 - NVIDIA Quadro 5000 - Configured for Editorial with Third Monitor Out Support - Solarflare 10 GbE - Solarflare 10 GbE
Online System Specifications 1x HP Z820-12-core/2.7GHz/ 2x – HP Z820 Intel Xeon E5-2697 - NVIDIA K5200 -12-core/2.7GHz/Release Q312 - 128 GB DDR3 RAM - Aja IO 4K - 256 GB DDR3 RAM - NVIDIA K6000 - 2 Fusion IoOstorm 512 GB Sustained - Cubix Expansion Chassis Sustained 2.1 GB/s for playback - 2 FusionIO IoDrive 1.6 TB- 64 TB Gspeed EsPro - SolarFlare Dual Port 10 Gb Network adaptor 4x – HP Z820 Intel XEON E5-2670 -8-core/2.6GHz/Released Q1 2012 Sustained 2.6 GB/s for playback - NVIDIA K5000 - 128 GB DDR3 - 2x Hp Z-Turbo 256 GB Drives Sustained - SolarFlare Dual Port 10 Gb Network adaptor Sustained 1.8 GB/s for playback
Storage System Specifications Offline Volume Online Volume Open Drives Velocity Open Drives Exos 342 TB 36 TB SSD 1 TB SSD Cache 60 TB Hard Drive 6 10 GbE Ports Custom Premiere accelerating cacheing Volumes 6 10 GbE Ports
Lessons from Dealing with Adobe Premiere in a shared Feature environment Solarflare 5152F Intel 520 Series Myricom Windows (SMB 2.2) 800 MB/s 450 MB/s 450 MB/s OSX (NFS) 920 MB/s N/A 700 MB/s Connected via a Single 10 GbE Connection to Open Drives Exos and Velocity
Next Generation 40 Gb Benchmarks Solarflare Mellanox NFS w/ RDMA 2.4 GB/s 2.4 GB/s
The point of all of this. Creative Iterations.
Offline 2304 x 1152 Raster 1920 x 800 Center Extraction
Online 6144 x 3072 Raster 5120 x 2876 Center Extraction 4096 x 1706 Final 4K
Automated Visual Effects Flow in a Live Action Pipeline The more time it takes to see a shot in context, the more that creative decision making momentum and insight is lost. Currently every major VFX feature film is usually kept in a manually over cut stage. With VFX pulls determined by editorial with the large majority of films still coming from data tapes. This process takes days that add up to weeks of delays. By creating a pixel aspect ratio correct workflow editorial is brought back into the creative conversation. As temporary VFX, if good enough, can quickly migrate to being finaled, with often nothing more then a right click replace. For integration of outside vendor work the ability to have the Automated After Effects pipeline has meant that shots can be auto replaced in edit as they are approved, and immediately seen in context. This is what the power of modern GPU’s has brought to us. The ability to edit material regardless of resolution. Has allowed us more iterations to perfect the content of the story , rather then manage media and resolution shifts.
What are we working on Next ? We are currently engaged on 5, A list productions. One of the productions , undisclosed, will be finished in full 6K Half Float EXR, bumping our data rate to 2.4 GB/s. Allowing for HDR delivery of the entirety of the project Another is editing in 3.5K full aperture. 100 GbE/ 100 Gb Infiniband. As of this morning we’re decompressing and demosaicing at 16 fps Open EXR 16 bit half float, on a K6000 this is 10x faster then a high end dual cpu xeon system.
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