 Mae oedd gwaith ymlaenwyr a philwyr fynd i'w functionality. Rhaid ei wneud beth yw'n gynnuno'n cefnol gynnyddol arall ond oherwydd gynnydd y dyfodol ond rwy'n arddangos. Ond ydi gyd angen yn gallu bwysig i'u chyfru iaith yn gweithio'n gwybodol, rhaid ei yn gweithio gyda'r cyfnod? Gweithio'r cyfnod, mae'n hyn yn ysg operated ac mae'n gygirio dychydig i drwy ar yr Gymryd sydd gyda'n gwybodol gyda'r cyfnod yn ysgolig oherwydd yn fel yng nghynny. So yn ffwrdd i'w ffaith yma i'w meddwl â'r 5-yrs y gyrthodd. Mae yna'r gwahanol, ond mae'r cychwyn i'w cefnodd, yn cymryd o'r cymryd, mae'r cyst yn bach arall. Mae drws wedi gydag 9-4 oedd yn ymgyrch. Felly ffon o ffotogrofi, mae'n cyffredig arall, mae erbyn 16-20 o'r gwaith. Mae'n hefyd. Felly mae'n rhaid am ei gael, a mae'n gweithio. Mae'n gweithio, ac nid i gael i gael eu gwaith arall, while filming so my background is kind of cameras and then I ended up working for a company called Technicolor being in charge of their digital front end operations which is looking after what they call tent poles which is just to use the buzz words is that they're Hollywood features that are shot in the UK so I was looking at looking after films such as Captain Philip's, Jupiter Ascending, Trance, Argo all those kind of films that you're familiar with in the cinema because everything transitioned from film to digital this isn't news really but it was a big deal for cinematography and 24p production sort of back in the day it kind of is a bit of a shift so I think any people like me to look after the media look after the rushes these digital cameras these sensors all that kind of thing comes into it Ari Alexa's Sony f65s that that's the world that I was in for a number of years and then I kind of left that a little bit because I just wanted to take a break I had a bit I had a bit of a career break and I found this camera here it's called anapetus as they are claiming the first open source digital cinema camera so my interest in the axiom camera was the sensors my interest is in colour science and getting the best pictures now you're probably familiar with different types of camera kit is what I've learned is like a locked IP it's a locked system it's closed so if I want to shoot with a Ari Alexa I have to rely on their colour science I want to shoot with a red I have to rely on their colour science well with this camera I've got access to everything all the sensors the sensor information the voltages are very important how I can set up a camera to best get the best response for our dynamic range in our picture quality so coming from that whole kind of feature background I've just put in that so I can put into context what what I'm sort of trying to to do here with an open source camera that then lent me to think about the whole workflow the whole pipeline the whole ecosystem that supports a feature film so hence the sort of thinking of what has open source or what can open source do for a feature film production a big film we looked at the axiom camera that's the camera that's been developed by them I think it's a university of Vienna they've got the the funding and discussions here about getting funding and what have you for for these projects so they've done it and I liked it because I can now talk to this camera and the sensor and the the innards of the camera and create my own workflow off the sensor it might not mean much to most people but for what I do it's the colour science is the key to everything we do it's the real it's the real sort of key to the door for for shooting at at that end so when we when I started to research this if we can just go to that aces page please I came across aces now it's all going into a bit of a a bit of a side thing here but this is open source software this is developed by the oscars they have a scientific department and they've now embraced open source so aces now being used on films are the man for a monk that I worked on and other films so that this software is available to all of the vendors to use for free now that's academy colour and coding system is very important because that now means I can get the best off of the sensors now if I'm talking to the sensors in an open source fashion with open source processing capabilities I've now got much more flexibility and control over those pictures I'm not relying on another company's ip or their closed system to deliver the images which for us opens up all the dynamic range and all the colour skin issues there's a there's a lot of issues with digital sensors that you don't foresee here but when I do a grade or a what we call a di skin tones off each RGB and the colours they have an inverse proportional effect on each other so you've got too much green you've got too much for gender the the the op-its that end up becoming prominent in the image the more control I've got over the sensor and how it portrays those images the better they're going to be and the better quality they're going to be that's that's the implication so regarding to you can see where I was going I sort of found the camera I've got into that I found that as open source I found that this was open source so I started to dig a bit deeper and thought why can't I do the whole production pipeline why can't I go into the whole IT infrastructure that's required to support a feature production which is things like raids cloud storage a whole kind of IT backup there's a lot of media I did a film called One Direction 3D and yes I did have to listen to that band for four nights in a row and it was terminable and there were lots of screaming girls and lots of mums and dads and all the usual thing but there was 100 terabytes of data a night so I had a whole suite a whole army of people I was I was I was kind of in charge of that whole operation you could imagine I've got 400 terabytes of live spinning disc storage in 2012 which then was a big deal it's kind of shrunk a bit now how do I look after that how can I create that into an open source world so then I start looking at GPU CPU speeds I've got to process these rushes I've got to go through that whole kind of infrastructure to deliver my rushes on time and it's led me to start thinking well I've got software and hardware that's not new to open it's new to me to understand open source and to kind of put put put that all together but the software where it's all locked into the IP I can now run kind of cine lab software so if you can just click on that magic lantern tab for me please so again I'm not too sure how familiar I've had to just sort of self teach myself all of these different bits that are available magic lantern is open source to canon there's recent software so you could backwards engineer a canon so you can do raw photography better it gives you more options and that's free and that's available to download and that's that's open source things like black magic software and others they're locked so that you have to sort of dance to their tune a bit with these guys they're kind of releasing the the ability to be able to do this yourself just click on the next tab please so naturally I've started my own company open source cinema UK and here we are Twitter feed from this morning so keeping us up to date as we can but it's it's it's kind of getting open source cinema is there actually any relationship between open source software hardware sensors cameras it GPU CPUs all of the kind of paraphernalia that goes around a workflow and a digital media a DI can this all be open sourced if it can especially with cloud and other things then there's a there's another sort of unlocked to that world of providing media services and backup services and feature film services to those to those people so open source cinema here if we just click on to the next tab please you can see that there's companies like blender adobe are adopting open source it's it's one of these kind of funny things is becoming a little bit of a buzz thing around the industry but like me i'm not too sure that everyone's fully aware of of what they're trying to achieve within the open source kind of banner because it it seems to me to cover too many broad brushstrokes is it free is we all supposed to work for nothing that the the chapter did his talk earlier you know you've got to earn a living we've got to pay the mortgage and the rent and all the rest of it but this company here blender were going bust so they decided to open source their whole IP it was the only way to keep alive and then they've made a very big success of it magic lanterns another example just click on the next tab please thanks and here we've got hardware solutions of it's all sort of very much early days in in the world of feature filmmaking this is but the camera there's control boards there's there's other parts of the paraphernalia just that next tab please and here's just this is just some examples of some press that's going sorry just the next the last one there should be the black magic that's it and just taking it sort of a sort of a round and back out again this company black magic design have made hundreds of millions of dollars selling cheap bits of kit for for gluing together a film production and they are now addressing this with Arduino boards so then there's this kind of bespoke it says it build customized camera solutions so they're already seeing that there's a need for this sort of card that previously would have cost you say 350 quid they're now selling for 125 so they're halving the price and that's kind of kind of where I'm coming from as a discussion is that I'm already doing it I've already shot with the camera we got the very first world first delivered axiom camera if you go back to the axiom tab please just at the beginning we got the first one delivered so that we could test it and run it and put it through its pieces we're now in the sort of colour science design stage and I'm taking very much a front foot approach to it I want to shoot films I want to shoot big productions I want to open source it and I want to create an environment of clouds and rays and GPU CPU render farms all based around that kind of open source ethos and I do understand or I'm sort of thinking it is a bit of a broad brushstroke or is open source really is it more of a case of you're opening certain bits and then you're making it easy for others to to use other bits or are you just kind of implying that we're kind of giving you a bit more than what someone else would give you these are a bit more you know large key to the door so to speak so that's that's very simply I mean it's not really too much of a thing it's more about that film production and that's where I'm coming from that's my background that's what I've been involved in and I personally like a lot of people just got that thing going where I kind of want to do this and I'm kind of working it out and researching it and seeing where all the all the bits may lie with that tremendous amount of press we've done quite well if you're how I'm going to make a pound note out of it I have absolutely no idea at the moment I've lined up with the University of Portsmouth I'm teaching cinematography there that's only happened in the last couple of months and trying to get even 50p out of them is like getting blood out of the stones so it's I've kind of working out I'm just going to have to do this on my own and I'm going to buy the kit and figure it out and and develop it and then see if there's someone out there that kind of gets it the same way as you do and then gives you that opportunity to to push it onwards and forwards I hope so I'm not crowdfunded I'm looking for any anything more than that but I can go out and shoot this stuff and I know how to do the workflow and that's kind of where I'm at with it today so tomorrow I've got the camera and what I'll be showing through the workshop is a workflow taking a raw image from the sensor showing you what a raw image looks like before it's processed processing it putting some colour science on it and and giving those that are going to come tomorrow a sort of a flavour of what the theory and the thinking behind open source for film production is and how I'm going to try and put that into practice it's a lot there's a lot of it you go into grading and then and all this kit but like I said the one direction film there's 100 terabytes a day you know this stuff means looking after and then you and open source could be that there bios motherboards all the sort of hard disks and clouds and all the rest of it that come with that kind of workflow as we call it is I think it's ripe I think it's it's a good thing it might take a few years but you never know we might be we might be shooting open source feature films in a not too distant future and that's all I've got that's it