About Us

Dear All,

It feels the right time to introduce myself to this blog and explain why we are approaching Open Source for Film Production, which I have been researching and working on now for over a full year, and still it needs a lot more explaining and development, but thats is why I am now involved, it is exciting and could revolutionise the industry over the coming years.

I have a background starting in cameras (assisting and focus pulling) then graduating up the ranks to Camara Operating for F1, BBC Dramas then 2nd Unit Cinematography for Feature Theatrical Productions.

During this time I also started and ran privately a camera rental house supplying digital cameras plus an onset/location company providing location Post and digital camera workflows.

This culminated just recently with a 2-3 year stint at Technicolor as their locations digital dailies supervisor, looking after projects such as Jupiter Ascending, Mortdecai and The Man from UNCLE.

During this long time servicing and working I have seen a few changes and re-iterations of the current digital workflows and it has struck me over time how much we do rely on proprietary systems for most delivery. And perhaps quite rightly so as the delivery requirements for VFX to DI to onset LUTs and more need that service.

I then made contact with Apertusº in Vienna, who were funding and developing an Open Source 4K camera. I went to see them and was immediately struck by how little Open Source, for both software and hardware, is utilised by Film Production community.

Certain single elements are there, Blender for 3D, DCP creation, but nothing has created and developed an entire production workflow for shooting films digitally, from the sensor and how it is used and manipulated, the colour science and the workflow (utilising both software and hardware).

It is quite a wide scope and in this single blog entry a little short as the subject has many more strands to it, such as sensor processing, transcoding, VFX, DI and colour, LUTs and more, plus add in the actual cameras themselves then we have a very deep set of requirements needed for the entire Productions pipeline and workflows.

But by approaching the subject now, and also introducing and researching ethical approaches to feature film production, I am hoping that we can create a community of like minded contributors who would like to see Open Source for Film production become stronger and a more realistic proposition as it continues to thrive and develop.

Thank you for reading,
Daniel Mulligan
January 27th 2015

June 2015 : New software called Open Cine is being developed and the beta camera from Apertusº has recorded some early CDNG files for testing. The marriage of hardware (cameras, sensors, data management with RAIDs and workstations) and software (dailies, processing, deliverables) is coming together nicely. GitHub repository and Phabricator Lab are all online.

February 05th 2016

Dear All,
It feels the right time to re-introduce myself to this blog and explain why we are further approaching Open Source for Film Production in 2016, which I have been researching and working on now for over two years, with a lot more explaining and development, but that is why I have found myself involved, it is exciting and could revolutionise the industry over the coming years.
I have a background starting in cameras (assisting and focus pulling) then graduating up the ranks to Camara Operating for F1, BBC Dramas then 2nd Unit Cinematography for Feature Theatrical Productions.
During this time I also started and ran privately a camera rental house supplying digital cameras plus an onset/location company providing location Post and digital camera workflows.
This culminated just recently with a 2-3 year stint at Technicolor as their locations digital dailies supervisor, looking after projects such as Jupiter Ascending, Mortdecai and The Man from UNCLE.
During this long time servicing and working I have seen a few changes and re-iterations of the current digital workflows and it has struck me over time how much we do rely on proprietary systems for most delivery. And perhaps quite rightly so as the delivery requirements for VFX to DI to onset LUTs and more need that service.
I then made contact with Apertusº in Vienna, who were funding and developing an Open Source 4K camera. I went to see them and was immediately struck by how little Open Source, for both software and hardware, is utilised by Film Production community.
Certain single elements are there, Blender for 3D, DCP creation, but nothing has seemingly been created and developed for an entire production workflow for shooting films digitally, from the sensor and how it is used and manipulated, the colour science and the workflow (utilising both software and hardware).
It is quite a wide scope and the subject has many more strands to it, such as sensor processing, transcoding, VFX, DI and colour, LUTs and more, plus add in the actual cameras themselves then we have a very deep set of requirements needed for the entire Production pipeline and workflow.
But by continually approaching the subject now, and also introducing and researching ethical approaches to feature film production, I am hoping that we can create a community of like minded contributors who would like to see Open Source for Film production become stronger and a more realistic proposition as it continues to thrive and develop.
Thank you for reading,
Daniel Mulligan
February 05th 2016May 09th 2016Hello,

We have come a long way since the start of this OS Project and it feels again a good time for an update.

Having now received the very first ever shipped AXIOM beta camera we are delighted to already begin testing and evaluating the sensor and the camera.

With this in mind we are excited to be approaching the idea of building a Research & Innovation Film Production Lab, initially called Cine Lab, to develop new sensor technology principles, processing techniques and work on entire workflow pipelines, with a naturally heavy bias towards Open Source toolsets for the future development of an entire Production workflow, with both software and hardware being cornerstones to the developments.

In my minds eye the whole principle behind such a project would not only encourage development of our workflows but provide much more accurate overall results. By looking at the workflow for Film shoots and how it could encompass Open Data, Open SDN, GPU and CPU processing and more.

It feels like a very good way to develop workflows for Film Production, and that Open Source for Film Production is but a small key to open that door for future R&I developments.

Warmest regards
Daniel Mulligan

May 31st 2016

Hello,

It made sense to just review why this blog is here and to explain our philosophy towards Open Source and its myriad possibilities.

Naturally a camera of this sort, with a sensor free to be worked on and all settings to be changed and adjusted, isn’t for everybody. What is being allowed though is a completely custom and open approach to realising and setting your perfect camera. Yes it will take a little planning and development work, but fundamentally it offers a wonderful opportunity, for those like minded, to really dig into the processing of the data from a digital sensor, play with the settings (voltages for example) and actually consider your own workflows and processing pathways.

As mentioned this clearly isn’t for everyone, but for those with the time and inclination will benefit from increased knowledge and this can benefit everyone in the longer term.

It is easier to shoot and use the proprietary system that now exists, from Alexa to GoPro, but this new approach offers, for me, a little bit more control. And yes, given time the possibilities will be endless.

I can see new sensor development being easier to manage in such an open environment, we have now built our own Cine Lab for Research & Innovation for sensor capture and processing, to examine how much more we can capture and process from these sensors and what we can really achieve from the results.

Again I come back to the major fact this is Open Source for Film Production, narrative film making, and to go this route is not such an easy path to take for anyone with all the inherent hard work, coding, understanding required to make everything work, when previously this has all been done for you.

From the sensor though and recording truly uncompressed imaging data from a current 4K sensor we can then look forward to developing not only the processing but also the workloads and colour pipelines.

ACES is Open Source for example, Sony OCIO is OS too and many many more Open Source approaches and resources are developing rapidly, as the future for a lot of Companies revolves around an Open Source approach and ethos.

Yes not all environments and circumstances are Open Source, and it is a fairly broad term to just label to an environment that requires many factors and task to be completed to be perhaps a fully Open Source entire workflow, but it is coming and developing fast and having received the very first OS 4K Camera shipped we are hoping to help encourage and develop this approach further and further.

Many thanks

Daniel Mulligan