[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” da_disable_devices=”off|off|off” global_colors_info=”{}” theme_builder_area=”post_content” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text admin_label=”Text” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n
This is the third and final part of our blog series \u201cFrom Script to Data\u201d, which shows how to use the Ontology for Media Creation<\/a> to improve communication and automation in the production process. Part 1<\/a> went from the script to a set of narrative elements, and Part 2<\/a> moved from narrative elements to production elements. Here we will use OMC to go from a set of production elements into the world of filming, slates, shots, and sequences.<\/p>\n [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Toe bone connected to the foot bone [\/et_pb_text][et_pb_text _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Even though we have extracted and mapped many of the narrative and production elements, there\u2019s still something missing before filming starts: where is filming going to happen? Just as Narrative Props, Wardrobe, and Characters are depicted by production elements, Narrative Locations have to be depicted as well. The Ontology defines Production Location for this.<\/p>\n Production Location:<\/strong> A real place that is used to depict the Narrative Location or used for creating the Creative Work.<\/p>\n We\u2019ll use two Production Locations. Production Scene 2A uses a stage for filming Sven to be overlaid on the VFX\/CG rendering of the satellite, and Production Scene 2B is a different stage with a built set of the inside of Sven\u2019s spaceship. (Don\u2019t worry \u2013 the jungle scenes will be on location in Hawaii\u2026)<\/p>\n This shows how Narrative Locations are depicted by Production Locations. The depiction may need just the Production Location, but it can also require sets and set dressing at the Production Location.<\/p>\n [\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_1.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]The Production Locations are connected to Production Scenes. Adding them in to the last diagram from Part 2 of this blog series lets us see the all the production elements needed for the Production Scenes. Note – You need lots of other things too (cameras, lights, and so on) some of which are covered in OMC Part 8: Infrastructure<\/em><\/strong><\/a> [1]<\/strong><\/sup><\/a>.[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_2.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]The full diagram below brings together all of the pieces we have talked about so far together. There are some extra relationships added to show how it\u2019s done. This is full of information, and can be hard to read, so click the image to make it larger. Most or all of this information currently exists in various forms \u2013 departmental spreadsheets, script supervisors\u2019 notes, the first AD\u2019s physical or digital notebook, the producer\u2019s head, channels in collaboration tools, and innumerable Post-it notes \u2013 but it is currently difficult or nearly impossible to bring it all together so individuals, work teams, and organizations can use it. Future production automaton systems can deal with level of complexity and extract the information that individual participants need, whether it is needed to examine choices and consequences or ensure that the right information goes to the right place to support a particular task.[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_3.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n A production team can do lots of things with the information behind this representation. Many of these are done manually today but can be automated because OMC is well defined and machine-readable. For example, now we have the data standardized all production applications can generate, share and edit the data enabling users to:<\/p>\n [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Dem bones, dem bones gonna walk around. [\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n The diagram above is, of course, incomplete, but OMC supports the missing items, including other Participants (the director, cinematographer, camera crew, and so on) and Assets (set dressing, for example) and, as mentioned above, can express infrastructure components as well.<\/p>\n Including that level of detail would make this even longer than it already is, so we\u2019ll imagine that it\u2019s all in place – so at last, it is time to film something. In order to do this, we have to introduce two new concepts. Both are very complex, but here we will stick to just basic information and things related to connectivity.<\/p>\n The first of these is: what to call the recording of the acted out scene? \u2018Footage\u2019 was used when it was done on film measured in feet and inches. \u2018Recording\u2019 is more often used for just sound. OMC uses \u2018Capture\u2019, which covers audio, video, motion capture, and whatever else may show up one day:<\/p>\n Capture<\/strong>: The result of recording any event by any means<\/p>\n The second is: How is the capture connected back to a to the Production Scene? In any production there\u2019s a lot of other information needed as well: the camera used, the take number (since almost nothing is right the first time), and so on. Traditionally, this was written on a slate or clapperboard which was recorded at the start the Capture, which made it easy to find and hard to lose.\u00a0 This term is still used in modern productions, even if there is no physical writing surface involved. OMC makes it hard to lose this information \u2013 this digital slate with its information is connected to the capture with a relationship \u2013 and makes it easy for software to access and use. (Some current systems support extracting information either by a person or with image processing software from a slate in a video capture and saving it elsewhere, but this is not ideal.)<\/p>\n Slate:<\/strong>\u00a0Used to capture key identifying information about what is being recorded on any given setup and take.<\/p>\n The Slate has a great deal of information in it, for which see the section in OMC: Part 2 Context<\/em><\/strong><\/a>. \u00a0For now, we\u2019ll focus just use the Slate Unique Identifier (UID) which is a semi-standard way of specifying important information in a single string; the Production Scene, which can be extracted from a standard Slate UID; and the Take, the counter of how many times this scene has been captured.<\/p>\n When a production scene is captured, all that is necessary is to create a Slate, connect it to the Production Scene, add the Take and Slate UID, and then record the action. This is repeated for each take, and for each camera angle or camera unit (if it\u2019s being filmed by more than one camera) or type of capture (such as motion capture.).<\/p>\n The actual Captured media is just another kind of Asset which should be linked with the Slate ID. It may not be convenient to use natively e.g. if it is an OCF) and may require some sort of processing. The process of generating proxies and other video files derived from the OCF is a topic for another day, but it essentially deals with transforming Assets from one structural form into another, while still maintaining their relationships back to the production scene, and hence the production elements in them and the underlying narrative elements.<\/p>\n As long as the Slate ID continues to be associated with the all the media captured on-set it can link all of the OCF\u2019s, proxies and audio files even as they head off into different post-production processes. These processes can be done by different internal groups or external vendors with their own media storage systems, but at long as the Asset identifiers and connections to a Slate are retained it doesn\u2019t matter how things are stored. In the MovieLabs 2030 Vision, Assets don\u2019t have to move, but in the short and intermediate term they often need to. Identifiers and the Slate remove many of the difficulties with this, for example by allowing the use of unstructured object storage rather than hierarchical directories, which are often application-specific. (See our blog on using an asset resolver<\/a> for more information.)<\/p>\n This diagram shows two takes and their Captures for Production Scene 2A. Each take (represented by the Slate) generates three captures: an audio file, a video file, and a point cloud.<\/p>\n [\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_4.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]This one shows a single take for production scene 2B with a more detailed view of the resulting Assets: an Audio file, an Asset Group representing camera files (OCF), and a proxy derived from the OCF.[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_5.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]Now we have some actual video that we can use for VFX, editing, and all of the other magic that happens between filming and the finished creative work. The end result of this is an ordered collection of media that represents whatever it is that is wanted at a particular stage of the process. This is typically called a Sequence.<\/p>\n Sequence<\/strong>: An ordered collection of media used to organize units of work.<\/p>\n OMC calls the media used to create this sequence \u2018shots.\u2019 \u2018Shot\u2019 is used to mean many different things in the production process; for a discussion of some of these, see the section on Shot in OMC: Part 2 Context<\/em><\/strong><\/a>. <\/em><\/strong>The definition of Shot used here is:<\/p>\n Shot<\/strong>: A discrete unit of visual narrative with a specified beginning and end.<\/p>\n A sequence is just a combination of Shots presented in a particular order with specific timing, and in live action film-making a Shot is most often a portion of a Capture – \u2018a portion\u2019 because the creative team may decide to use only some of a particular capture. Storyboards can also be used as Shots, for instance, as can other Sequences. This means that a Shot has a reference to its source material.<\/p>\n Finally, a Sequence has a set of directions for turning those Shots into a Sequence. There are several formats for this, such as EDL and AAF. OMC abstracts these into a general Sequence Chronology Descriptor (SCD) which has basic timing information about the portions of shots and where in the Sequence they appear. Exact details of how the Sequence is constructed are application-specific, using a format such as an EDL or OpenTimelineIO. An SCD is an OMC Asset, and the application-specific representation is used as the SCD\u2019s functional characteristics.<\/p>\n The SCD allows some visibility into Sequences for applications that may not understand a particular detailed format. It is useful for general planning and tracking, and is another example of OMC making connections that in current productions are manual and easily lost, such as knowing what sequences have to be re-done if a capture is re-shot or a prop is changed.<\/p>\n OMC: Part 2 Context<\/em><\/strong><\/a> has details on how portions of Shots are specified for adding to a Sequence. This diagram shows the end result at a relatively coarse level of granularity. The Sequence uses the SCD to combine three captured Assets (or portions of those Assets) into a finished representation of Production Scene 2b.[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_6.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]Capture, Shot and Sequence have a lot of details not mentioned here, since we have been emphasizing the connectivity of things as opposed to the details of the various elements. For example:[\/et_pb_text][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n This last diagram shows all of the things we have talked about, in all 3 blogs, in one complete view of the data and relationships. From this, you can see the ripple effect if, for example, the design of the communicator prop changes. This starts with remaking the production prop, carries on through re-filming or re-rendering the production scenes where the communicator is used, and on to the finished sequences for the narrative scene. This visibility into how everything is connected can help reduce unexpected surprises late in the production process.[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/movielabs.com\/wp-content\/uploads\/2022\/12\/p3_diagram_7.png” show_in_lightbox=”on” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text ul_item_indent=”50px” _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n This blog has shown how to use the Ontology for Media Creation to move from production elements to some filmed content, and concludes this series of blogs on using the OMC in the context of a real production.<\/p>\n Thinking beyond the relatively simple examples in this blog series, which use just a couple of scenes and characters, a major production is not just a logistical and creative challenge but also a massive data wrangling operation.\u00a0 And that data is often the cause of complexity and confusion \u2013 at MovieLabs we believe we can help simplify that problem dramatically to allow the creative team to spend their precious resources on being creative.<\/p>\n We believe that there are four main benefits from using OMC in this way:<\/p>\n First, using common, standard terms and data models reduces miscommunication, whether between people or between software-based systems. We explored this in the first blog in this series, and the lessons apply to all the others as well.<\/p>\n Second, being explicit about the connections between elements of the production makes it easier to understand dependencies and the consequence of changes, both of which have an effect on scheduling and budget. We dove into this kind of model in Part 2 and then used it heavily in Part 3, which also demonstrates some concrete applications of the model.<\/p>\n Third, OMC enables a new generation of software and applications. OMC is primarily a way of clarifying communication, and clear machine to machine communication is essential in the distributed and cloud-based world. These new applications we\u2019re expecting will support the broader 2030 Vision and can cover everything from script breakdown and scheduling through to on-set activities, VFX, the editorial process, and archives.<\/p>\n Finally, having consistent data is hugely beneficial for emerging technologies such as machine learning and complex data visualization and we hope therefore the OMC will unlock a wave of innovative new software in our industry to accelerate productions and improve the quality of life for all involved.<\/p>\n These blogs are not theoretical – we have been using the OMC in our own proof-of-concept work where we model real production scenarios and this data connectivity is a vital part in delivering a software defined workflow (for more on Software Defined Workflows, watch this video<\/a>) where we are exploring efficiency and automation in the production process.<\/p>\n The Ontology for Media Creation is an expanding set of Connected Ontologies \u2013 we will continue to add extra definitions, scope and concepts as we broaden the breadth and depth of what it covers, especially as it becomes more operationally deployed. For example, we are currently working on OMC support for versions and variants as well as expanding into new areas of the workflow such as\u00a0 computer graphics assets.\u00a0 In practical terms, the Ontology is available as RDF and JSON, and software developers are working with both. Please let us know if you\u2019d like to try it out in an implementation.<\/p>\n If you found this blog series useful then let us know, and if you\u2019re interested in additional blogs or how-to-guides let us know a specific use case and we can address it (email: info@movielabs.com<\/a>).<\/p>\n There\u2019s also a wealth of useful information at mc.movielabs.com<\/a> and movielabs.com\/production-technology\/ontology-for-media-creation\/<\/a>.<\/p>\n [\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_divider color=”#d9d9d9″ divider_position=”bottom” _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_text _builder_version=”4.16″ _module_preset=”default” background_size=”initial” background_position=”top_left” background_repeat=”repeat” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][1]<\/a> We are working on expanding the Infrastructure portions of OMC.<\/em>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Using the Ontology for Media Creation in physical and post-production<\/p>\n","protected":false},"author":1,"featured_media":11436,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"[et_pb_section fb_built=\"1\" _builder_version=\"4.11.4\" _module_preset=\"default\" da_disable_devices=\"off|off|off\" global_colors_info=\"{}\" da_is_popup=\"off\" da_exit_intent=\"off\" da_has_close=\"on\" da_alt_close=\"off\" da_dark_close=\"off\" da_not_modal=\"on\" da_is_singular=\"off\" da_with_loader=\"off\" da_has_shadow=\"on\"][et_pb_row _builder_version=\"4.11.4\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.11.4\" _module_preset=\"default\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_text _builder_version=\"4.11.4\" _module_preset=\"default\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"]Clear communication is critical to the content creation process. And while today\u2019s productions somehow manage to compensate for inefficient communication mechanisms, there is a growing and urgent need to streamline the way we communicate and exchange information as we continue to scale up to meet the increasing demand for content. \u00a0In our blog \"Cloud. Work. Flows\"<\/a>, we identified some missing components that are required to enable software defined workflows. We highlighted that a more efficient messaging system will be critical to improve communication between participants (which could be people or machines) in a complex workflow system.\u00a0 We\u2019ve addressed communication elements in the Ontology for Media Creation<\/a> which covers some aspects on what<\/em> needs to be communicated. Recently we\u2019ve been turning our attention to the how<\/em>\u00a0to express that communication in the most efficient manner.\u00a0 For example, in the 2030 Vision<\/a> our first principle states that content goes straight to the cloud and does not need to be moved. Once ingestion to the cloud has completed, the first participants in the chain will need to be notified that the content is now in the cloud and ready to be worked on and ideally including a location for that content.\u00a0 A similar workflow notification message is required when a task has been finished and the work is ready for review by another team member.\u00a0 In this post we\u2019ll discuss the benefits of a common approach to communicating these repeating types of workflow messages. In a subsequent post we\u2019ll get into the technicalities of how we think such a system could be built including considerations to enable it to span cloud infrastructures and tools.\r\n\r\n Synchronous Real-Time Messages between two known participants.<\/em><\/p>\r\n And more complex messages, especially as we move to more automated systems, where the participants may not know who will pick up the messages and may not receive replies for hours or even days. Take for an example:<\/p>[\/et_pb_text][et_pb_image src=\"https:\/\/movielabs.com\/wp-content\/uploads\/2022\/05\/render.gif\" alt=\"Render\" title_text=\"Render\" _builder_version=\"4.11.4\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.11.4\" _module_preset=\"default\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"] Asynchronous Messages between one sender and multiple potential recipients.<\/em><\/p>\r\nIn this example the Render Manager (the message sender) doesn\u2019t know which nodes may respond or when they may respond. There are thousands of such nuanced examples in production workflows that we need to consider when thinking about the sorts of messages that could be sent between systems. We need a messaging approach that can accommodate all of these message types, and also the complexity of multi-cloud infrastructure when messages may be flowing between systems that are not all owned\/leased or operated by the same organization and on the same infrastructure.\r\nCombining Narrative Elements and Production Elements<\/h1>\n
\nFoot bone connected to the heel bone
\nHeel bone connected to the ankle bone
\n\u2026
\nBack bone connected to the shoulder bone
\nShoulder bone connected to the neck bone
\nNeck bone connected to the head bone
\nHear the word of the Lord.<\/em><\/p>\n\n
Time to Film<\/h1>\n
\nDem bones, dem bones gonna walk around.
\nDem bones, dem bones gonna dance around.
\nNow hear the word of the Lord.<\/em><\/p>\n\n
Conclusion<\/h1>\n
The Art of the Message<\/h2>\r\n\r\nWe need to deal with both simple messages, in near real-time, between two participants, like this:[\/et_pb_text][et_pb_image src=\"https:\/\/movielabs.com\/wp-content\/uploads\/2022\/05\/messaging_system.gif\" alt=\"Simple Message System\" title_text=\"Simple Message System\" _builder_version=\"4.11.4\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.11.4\" _module_preset=\"default\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"]
Software Messaging Systems<\/h2>\r\nAt MovieLabs we\u2019ve been thinking about approaches to these messaging problems. One approach is using point-to-point API calls between all these disparate systems and while appropriate for many use cases we don\u2019t believe this will scale to whole productions or studios \u2013 there would simply be too many custom integrations to get all the possible components of a workflow to work together.[1]<\/a> We see the best way to manage the highly asynchronous delivery of information to multiple (potentially unknown to the sender) destinations is to decouple the mechanics of the communication \u2013 the what<\/em> from the how<\/em>.\u00a0 In software systems this can be managed in a more automated way using Message Queues.[2]<\/a> A message queue allows a message to be sent blindly (the sender does not need to specifically know who will read it). Specific queues are typically associated with a particular topic, any other participant with an interest in that topic can then subscribe to the queue and receive its messages whenever they\u2019re ready.\r\n\r\nMessage queues \u2013 or, more broadly, message systems \u2013 are a natural fit for software-defined workflows: their raison d'\u00eatre<\/em> is to provide a communication mechanism where senders and receivers can operate without knowing anything about each other beyond how to communicate (the message queue) and some expectations about the contents of the communication (the messages.) This separation allows applications to run independently and, just as importantly, be developed independently.\r\n\r\nAs long as the sending and receiving applications can both access the message queue, it doesn\u2019t matter where the applications are running; they can be in the same cloud, in different clouds, on a workstation in a cloud, or even in two organizations. Agreeing on commonality of some aspects of message headers and message contents can enable interoperability especially in that cross-organizational use case. For example, if a message from an editorial department to a VFX house includes a commonly agreed upon place to put shot and sequence identifiers, a workflow management system at the VFX house can route that message to the appropriate recipients internally.\r\n\r\nThe use of messaging systems rather than point-to-point integrations also makes it easier to gather together operational data for logging, dashboards, and detecting\/acting on exceptions and errors.\r\n
Benefits<\/h2>\r\nAs we look to the 10 Principles of the 2030 Vision, we can see that messaging is key to enabling the \"publish\" function (where access to files is pushed through a workflow, as tasks are created) and enabling participants to \u201csubscribe\u201d to those files, tasks, or changes. Principles 1 and 2 of the 2030 Vision state that assets go to the cloud and do not need to move, which means sharing the location of those files<\/a> becomes a key message that will also need to be shared between systems. By enabling a robust multi-cloud ecosystem with broadly distributed and understandable messages, we hope to unlock the true flexibility of software-defined workflows But we do not need to wait for the entirety of the 2030 Vision ecosystem to be built before we can take advantage of messaging systems \u2013 there are many use cases that can be deployed now to enable a more interoperable and flexible workflow in 2022 and beyond.\r\n
Next Up...<\/h2>\r\nIn our next post we\u2019ll discuss the software elements of a messaging system, types of messages and the use cases we hope to enable with one.\u00a0 Make sure you stay tuned, so you get the message\u2026[\/et_pb_text][et_pb_divider show_divider=\"off\" _builder_version=\"4.11.4\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_divider][et_pb_text _builder_version=\"4.11.4\" _module_preset=\"default\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"][1]<\/a> Not to say that API calls don\u2019t have their place in interoperability. We\u2019re very supportive of applications exposing APIs for system-to-system communication with small amounts of data or messages that need a guaranteed quickish response.\r\n\r\n[2]<\/a> Message queues are a familiar element of software engineering, suited to a wide a variety of inter-process communication problems. Operating systems use them internally, and business and process automation software make heavy use of them.\r\n\r\n[3]<\/a> We define \u201ccloud\u201d in the 2030 Vision as private, public and hybrid infrastructures connected to the internet and therefore envision productions that need to span across all of those.\u00a0 See the multi-cloud blog here [insert link] for more details.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":"","_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[77,84],"tags":[],"ppma_author":[56],"acf":[],"yoast_head":"\n