LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Silverdraft Mobileviz rolls out

COW Library : Cinematography : Debra Kaufman : Silverdraft Mobileviz rolls out
CreativeCOW presents Silverdraft Mobileviz rolls out -- Cinematography Feature


CreativeCOW.net. All rights reserved.


Going mobile with digital dailies and on-set DI has been a trend in the last few years. Why not extend that concept to 2D and 3D stereo, in-camera pre-viz, real-time, high-resolution visualization of VFX shots and performance/motion capture recording? And make it all mobile.

Welcome to Silverdraft Mobileviz, which is described as "first super-computer-powered digital and visual effects (VFX) studios-on-wheels." The idea is take mobile services to the next level; whether it's on the studio lot or on location, Mobileviz allows the director to incorporate digital tools in more flexible, powerful way, regardless of whether the studio or location lacks or provides insufficient infrastructure.


Shots of the artists' work area in Silverdraft Mobileviz. Photos by Jeff Heusser.
Shots of the artists' work area in Silverdraft Mobileviz. Photos by Jeff Heusser. To view a larger image, please click above


I visited the new Mobileviz trailer in a Hollywood parking lot this week and got the grand tour from Silverdraft founder/CEO Amy Gile. "This has been two-and-a-half years in the making," she said, gesturing around the ergonomically designed trailer. Gile, who comes from a background as a producer, came up with the idea of Silverdraft Mobileviz to solve a production problem. Wouldn't it be great, she thought, if every director could pre-visualize live action and CG elements in-camera 'live' on the set.


Shots of the artists' work area in Silverdraft Mobileviz. Photos by Jeff Heusser.
Shots of the artists' work area in Silverdraft Mobileviz. Photos by Jeff Heusser. To view a larger image, please click above


When she asked an IT expert if such a solution were possible, he laughed at her. "He said I was out of my mind and that the only person who could do something like this is Dr Srinidhi Varadarajan." Gile promptly called Dr. Varadarajan, director for Virginia Tech's center of high-end computing systems and associate professor in the department of computer science, who quickly saw the applicability of super-computing for visual effects. He became a founder of the company and is also its systems architect.

The core of Silverdraft Mobileviz is Dr. Varadarajan's proprietary super-computing technology. The first in the fleet of Mobileviz trailers--the one I toured this week--offers 30 teraflops processing. FLOPS is an acronym meaning FLoating point OPerations per Second; a teraflop is one trillion floating point operations per second. But this first trailer in the fleet is just the beginning, said Gile. The next trailer is slated to be a higher-end system, capable of being scaled to process up to 350 teraflops. That will catapult Silverdraft Mobileviz into the ranks of the most advanced VFX/production facilities…the ones not on wheels.


The supercomputer that lies within within Silverdraft Mobileviz. Photos by Jeff Heusser.
The supercomputer that lies within within Silverdraft Mobileviz. Photos by Jeff Heusser. To view a larger image, please click above


What does the Silverdraft's super-computer power? Inside, you can find Autodesk MotionBuilder, Maya and 3DS Max; Mental Images' Mental Ray renderer; Chaos Group's Vray; Qube! render management from PipelineFX; Apple Final Cut Pro and Avid editing; and on-set dailies and full color management capabilities with Filmlight's Baselight and TrueLight. The trailer also sports 20TB of Micron solid-state storage, incorporated into a cluster of 1,536 compute cores. The work space can be configured to match whatever each project requires.


The supercomputer that lies within within Silverdraft Mobileviz. Photos by Jeff Heusser.
The supercomputer that lies within within Silverdraft Mobileviz. Photos by Jeff Heusser. To view a larger image, please click above


The Silverdraft team, which also includes president Steve Hendricks and head of marketing/business development Michael Cooper, is collaborating on a proof-of-concept test. In conjunction with strategic partners that include pre-visualization expert The Third Floor, Autodesk, VFX artist/director Alex Frisch, and performance capture specialists Knight Vision, the project was shot with the ARRI Alexa and RED Epic and ingested by Silverdraft Mobileviz's Codex Digital system.

"While they shot, the director could move the CG imagery in real time to exactly where he wanted it to be," says Gile. "We could change previz on the fly. With the super-computer we're rendering in real-time, and we captured ARRIRAW files in real-time and were able to pipe that, with an HD stream, to Baselight and Flame to set the looks to do the comps in Smoke."

"Directors can combine and pre-visualize live action and CG elements in-camera 'live' on the set, and every department in a film, TV or commercial production can work with the material immediately," she adds. "They can see how the material looks and will edit together, and decide what reshoots/pick-ups are needed while on set. Creative decisions, such as editorial, color and VFX visualizations, are less restricted by timelines and financial constraints."

Silverdraft is headquartered in Boise, Idaho, and its Los Angeles headquarters are on Wilshire Blvd. in the Miracle Mile. But, the unit is ready to roll onto the studio lot or to any state with film incentives, says Gile. The company is also in development on its next two systems: One trailer will be equipped for the independent film market and the other for the TV/commercial market.

"The super-computer on the set is the right technology," says Gile. "Market forces and digital capture are taking it here, changing the industry but bringing it immense opportunities without hindering the artist."

 


 

Debra Kaufman

Debra Kaufman

“I am thrilled to be joining the COW team,” said Debra Kaufman, newly named Associate Editor of Creative COW Magazine. “In an era in which so much coverage has shrunk to 300-word sound bites, I'm delighted to be able to cover the dramatic changes in our industry in depth. Additionally, I look forward to reaching a huge number of engaged readers working in production and post, in the U.S. and internationally. Publisher Ronald Lindeboom and Editor-in-Chief Tim Wilson early on understood the importance of a web presence, and have created an astonishingly large audience both online and in print.”

Look forward to more great stories from Debra in Creative COW Magazine, and online here at CreativeCOW.net.









Comments

Re: Silverdraft Mobileviz rolls out
by John Baumchen
dreams into reality....


Related Articles / Tutorials:
Cinematography
Five Cinematic Drone Shots For You To Master

Five Cinematic Drone Shots For You To Master

If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.

Tutorial
Adorama TV
Cinematography
Filming In Small Spaces

Filming In Small Spaces

"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.

Tutorial
Adorama TV
Cinematography
In-Camera Video Transition Hacks

In-Camera Video Transition Hacks

When you think about video transitions, your mind might first turn to software, but as Surfaced Studio vfx guru Tobias Gleissenberger points out, some of the cleverest, most-effective, and easiest transitions to create are ones that take place primarily in your camera. A little pre-production planning and a little timeline finesse can work magic!

Tutorial
Tobias Gleissenberger
Cinematography
Creating Interactive 360 Aerial Panoramas with Your Drone

Creating Interactive 360 Aerial Panoramas with Your Drone

From Where I Drone's Dirk Dallas will show you how to capture and stitch together an interactive 360 aerial panorama image using your drone. Dirk will also give you some expert tips on how he shoots and processes panoramic images using the Litchi app for iOS and Android, PTGui and Adobe Photoshop, along with some DIY options.

Tutorial
Adorama TV
Cinematography
Through The Lens: Alex Strohl

Through The Lens: Alex Strohl

The "why" of Alex Strohl's work as a nature photographer: to inspire people to get outside. In this presentation from Adorama TV, Alex talks about what led him to the American West, the mysteries of our interaction with water, and the magic that can happen when things go wrong.

Tutorial
Adorama TV
Cinematography
RBG's DP: Claudia Raschke, Ruth Ginsburg & Canon C300 Mk II

RBG's DP: Claudia Raschke, Ruth Ginsburg & Canon C300 Mk II

In his conversation with Claudia Raschke, the cinematographer of the acclaimed documentary "RBG" featuring Supreme Court Justice and folk hero Ruth Bader Ginsburg, DP Jimmy Matlosz speaks to her about the Canon C300, the challenges of shooting such a high-profile subject, and the influence of dance on her approach to documentary filmmaking. A truly remarkable conversation about multiple remarkable subjects.

Feature, People / Interview
Jimmy Matlosz
Cinematography
Get The Shot Without Getting Shot: Adventures in Stock Video

Get The Shot Without Getting Shot: Adventures in Stock Video

Rick Ray of DVArchive has traveled the world, lived in a Buddhist monastery in Thailand, played ragtime piano for money in Australian bars, and both been arrested in Ethiopa and recruited those same police to be in his videos the very next day. In his NAB Show presentation for Adobe Stock, Rick gets specific about how to make real money in stock video following your passion around the world, what kind of equipment to choose and avoid, and yes, some advice about talking your way out of trouble.


Cow News
Cinematography
Go Creative Show: The Cinematography of A Quiet Place

Go Creative Show: The Cinematography of A Quiet Place

Charlotte Bruus Christensen is the Danish cinematographer behind the lens of the horrifying and beautifully shot film A Quiet Place. Charlotte joins commercial director and Go Creative Show host Ben Consoli to discuss the camera, lighting, and lensing choices for A Quiet Place, its unique sound design and how show created its horrifying yet warm look.


Ben Consoli
Cinematography
How Kubrick Achieved the Cinematography of Barry Lyndon

How Kubrick Achieved the Cinematography of Barry Lyndon

Stanley Kubrick’s Barry Lyndon is often lauded as one of the greatest achievements in the history of cinematography. And in a decade or even a year with some of the toughest competition imaginable, Barry Lyndon always seems to stick out just a little bit more. What sets the cinematography of Barry Lyndon apart from other movies? And how was it done? Let's explore the story...

Tutorial, Feature
Tyler Knudsen
Cinematography
Robert McLachlan: Cinematographer for Game of Thrones

Robert McLachlan: Cinematographer for Game of Thrones

Robert McLachlan is the cinematographer of Game of Thrones, Westworld and Ray Donovan, and he joins commercial director and Go Creative Show host Ben Consoli to share behind the scenes stories from some of his most iconic scenes including The Red Wedding and The Loot Train Battle.

Feature, People / Interview
Ben Consoli
MORE
© 2018 CreativeCOW.net All Rights Reserved
[TOP]