Built on open standards.
OpenTimelineIO, ASC CDL, OpenColorIO and Cooke /i in the files you hand over, and a MovieLabs OMC export you switch on per project.
Book a demoOpen standards
Open formats, in the files you hand over.
The plates, the timeline, the colour and the lens data travel in open standards, so your vendor opens them in the tools they already have, without Origami.
- The timeline
- Its profile, set up for the VFX vendor, adds an OpenTimelineIO timeline. Each clip points at its shot’s plates, CDL and LUT.
- The colour
- Every shot’s grade is an ASC CDL named after the shot, beside the show LUT. One .ccc collects the whole job’s.
- The lens data
- The lens readings the camera recorded on every frame sit beside each shot’s plates, as a CSV with one row a frame.
- The record
- Switched on for this project, a MovieLabs OMC record describes the job: each shot, the camera original it came from, and who it is for.
ASC CDL, ACES and OpenColorIO
The look travels as numbers.
Each shot’s grade leaves as a standard ASC CDL file, and the timeline points the next tool at it through OpenColorIO, so the vendor starts from the look you signed off.
Ring before, dot after the grade
- The grade
- The look on KS2_104_010 comes down to ten numbers: a slope, an offset and a power for red, green and blue, and one saturation.
- Written as a CDL
- Origami writes them into a standard ASC CDL file named after the VFX shot, in the shot’s own folder, and gathers the whole job’s looks into one .ccc.
- Carried in the timeline
- In a package with a timeline, two OpenColorIO steps on the clip point at the shot’s CDL and the show LUT. Open it in Hiero or any OpenTimelineIO tool.
Lens data
Colour is per shot. The lens is per frame.
The camera records what the lens did on every frame: its focus, iris and zoom. Origami reads that record from the camera original and hands it over with the plates, a row a frame.
- The shot
- A dolly in on three subjects as focus racks A to B to C, the lens zooms and the iris stops down. The camera writes down what the lens did, a row a frame.
- What the lens did
- Focus, iris and zoom are read on every frame, from lens data such as Cooke /i and ARRI LDS that the camera records with the picture.
- Colour is per shot
- The grade holds for the whole shot: one CDL, a flat bar against the lens’s curves, which move frame by frame.
- In the package
- In this VFX pull the lens data leaves as a CSV, a row a frame, in the shot’s folder beside its plates and its CDL.
MovieLabs 2030 Vision
Built on MovieLabs’ vocabulary.
MovieLabs set out a vision for how production should work by 2030. Origami is a member, our engineers sit in the group drafting the Ontology for Media Creation, and the data model underneath the product has used MovieLabs’ own terms since they published their first paper.
Member of the MovieLabs Industry ForumAbout the Industry Forum
- Principle 1: Assets go straight into the cloud and need not move.
- Principle 2: Applications come to the media.
- Principle 5: Preservation includes the future means to access and edit.
- Principle 6: Every individual is identified and verified, and their access consistently managed.
- Principle 7: Media creation happens in a highly secure environment that adapts to changing threats.
- Principle 8: Media elements are interrelated by a universal linking system.
- Principle 9: Workflows are non-destructive, and built dynamically from common formats and metadata.
- Principle 10: Workflows are designed around iteration and feedback.
- 1 Cloud
- Bring your own bucket, or use Origami’s. Camera originals are read where they were uploaded, and Origami Link adds the storage in your building to the same index.
- 2 In place
- Origami Link indexes your storage where it sits and reads the metadata in place, so nothing is copied to be found.
- 5 Preservation
- Camera originals are never rewritten, the metadata keeps its history instead of being overwritten, and the record can leave in open formats such as OMC, OpenTimelineIO, ASC CDL and CSV, readable without us.
- 6 Identity
- One identity, from your own sign-in provider through SSO or SAML, with roles per organisation, team and project. When an organisation removes someone, every project they joined through it goes with them, including the projects they were invited to as a partner.
- 7 Security
- Your organisation’s audit log records who played a shot, who requested a transfer and who granted a role. Playback carries the viewer’s visible watermark and a forensic mark, so a leaked frame traces back to the person it was shown to. Camera originals never leave your storage.
- 8 Linking
- Every proxy, pull and LUT is linked back to the camera original it came from, each link named in MovieLabs’ own words: representation, derivation, accompanying. Picture and sound are joined on identifiers the camera and the recorder wrote.
- 9 Non-destructive
- The original is never touched; every trim is a new file. Rules on the metadata pick each shot’s render for VFX and conform pulls, package profiles lay out the delivery, and collection profiles file the media. All three are yours to change.
- 10 Iteration
- Every field keeps its history: which source said what, who changed it, when, and who locked it. A fix goes back out as a redelivery, and finished shots can be picked up while the rest of the job is still running.
MovieLabs OMC
The job, mapped in MovieLabs’ own words.
When the export is switched on for a project, Origami writes each job as an OMC record: the job, the shots that went in, where each came from and who it is for, all joined up.
- The job
- First, the job itself, a Task: a transcode, job 8412, three shots, and the name of the package it travels in.
- What went in
- Each shot the job pulled is an Asset, with its frame range, look and lens details. The job uses all three.
- Where it came from
- Every shot points back, by its ID, to the camera original it was cut from. MovieLabs calls that a derivation.
- Who it is for
- Participants name the VFX vendor it is for and the person who submitted it, and the record names the production it belongs to.
- How it connects
- Every link is written down, so the next system can follow the job to each shot and see which camera original each came from, without Origami.
See the file itself
A crop of a real export from Origami’s own test job, exactly as written, with what each part means beside it.
The pull you submitted. One job, one task.
Every shot that went in, each pointing back to the camera original it came from.
Who submitted it, and the vendor it is for.
New in version 3.0. The file states how those pieces connect, not only that they exist.
Origami’s own detail rides here in namespaced blocks. The job’s identity is above; further down the same file, per clip, sit checksum, file size, loudness, immersive audio, UMIDs, colour space, transfer function, QC results, retime and frame handles.
The same detail Origami writes into its manifests. The main manifest carries over 130 fields, and the audio manifest 43 columns, 15 of them built to match the Sound Devices Wave Agent sound report. Transfer jobs use a shorter seven-column sheet.
Validated
Checked with omcValidate, MovieLabs’ own tool, across vfx, conform and transfer jobs.
A member
Origami is a member of MovieLabs, and our engineers sit in the group drafting OMC 3.0.
Available
Supported in the product, switched on per project.
Questions about open standards
Take Origami for a spin with your own material.
A twenty-minute demo on a call, then a demo account on your own footage: pulls, conforms, deliveries, colour carried with the frames, and your AI assistant driving it.