American Cinematographer - October 2010 - 73

At the heart of ADS’ duplication, standards conversion and up/down/cross-conversion services, the machine room is equipped to handle tape- and file-based SD (NTSC and PAL) and HD content.

orders and manage the inventory. Throughout every step of the pipeline, security is of paramount concern. Weyl notes, “The facility has undergone multiple MPAA site surveys, and some of the studios have brought in their own security teams and done site surveys. We make sure our customers feel comfortable and confident that we’re taking good care of their assets.” A large media area and an online edit room — capable of linear tape-based and nonlinear file-based work — sit at the heart of the ground floor. Weyl explains, “In the media area, we capture material from HD or SD tape and create files for DVD authoring, for posting to FTP sites, or for proprietary file distribution via platforms like SmartJog. From file-based material, we export out to videotape; an independent production that doesn’t have the infrastructure to export to tape can send a drive to us, and we can then export either a final product or work files. We’re running multiple Final Cut Pro HD systems, multiple Digital Rapids encoders, two Sonic Solutions’ Scenarist DVD-authoring systems and a variety of tape and computer equipment.” In broad strokes, the ground floor is focused on short-format material requiring fast turnaround, while the second story is set up to tackle more time-intensive projects. For example, the Digital Operations Center houses multiple encode

stations where, Weyl explains, “we’re taking HD content from a studio library and encoding it to whatever format the customer requires, such as a JPEG2000 file, 100-percent QC’ing it and sending it back out as a file for our customers to store in multiple locations so they have safety copies. We’re also doing a lot of library-type work that’s pushed out to end users such as Amazon, Netflix, Hulu and iTunes.” For file-based deliverables, he continues, “we can push the files off to our customers via a few different methods. One is across SohoNet, a closed-loop fiber-optic network. We also have multiple 100megabit connections in and out of the building, along with 270-megabit fiberoptic connectivity in and out of the building, so we can do a real-time HD or SD playout or receive.” Another key aspect of ADS’ services is tape-based restoration work utilizing Snell & Wilcox Archangel and the DRS Digital Restoration System. When working with old 1" or 2" tape, Weyl explains, “we’ll determine whether it needs to be baked or dehumidified, after which we can do a pass and bump it up to a digital-tape format.” Then, working from the digital tape, the SD Archangel workflow “takes out film dirt, film weave, grain, noise and video drop outs in a real-time process,” Weyl details. “We do a QC to identify any large things the Archangel didn’t remove, and then we
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American Cinematographer - October 2010

Table of Contents for the Digital Edition of American Cinematographer - October 2010

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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