Canon’s Display Matches 4K Video with DCI Colour Precision

Canon’s Display Matches 4K Video with DCI Colour Precision | H-WARE:
Canon’s new DP-V3010 4K 30-inch video display combines a proprietary image engine and RGB LED backlight system with an IPS LCD panel to achieve the level of colour reproduction, resolution and contrast currently required for professional production editing and colour checking.

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Fandev CuteDCP - An After Effects DCP exporter

Fandev CuteDCP - An After Effects DCP exporter
CuteDCP is a DCP (Digital Cinema Package) creation tool for After Effects. CuteDCP is an exporting (output module) plug-in which allows users to create DCPs from any file imported into After Effects and reduces the number of steps creating a DCP to a minimum.

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Digital Cinema Package - Part 1: Overview & DCI Conversions on Vimeo

Digital Cinema Package - Part 1: Overview & DCI Conversions on Vimeo:
This is part one of our three part instructional video series about creating a Digital Cinema Package, a file format and collection of digital files for storing and conveying Digital Cinema audio, image and data streams for playback on theatrical projector systems. UCF Film Grad Student Max Rousseau provides an overview of the technology and specifications, and begins the process of creating a DCP for his feature length film Pembroke Circle.

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Some best common practice DCP color space workflows part 2

Some best common practice DCP color space workflows part 2 | Knut Erik Evensen - KESE:
in 2011. I tried to find some good sources on DCP color space workflows. In this part 2 I want to go into more detail on these workflows and clarify some things:

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Hamburg Pro Media Releases JPEG2000 Decoder

Hamburg Pro Media Releases JPEG2000 Decoder | Digital Production BuZZ:
The “state of the art” JPEG2000 decoder opens JPEG2000 files in nearly any QuickTime application like e.g Final Cut Pro, Adobe Premiere or the MXF4mac Player.

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Cinemaslides

Cinemaslides:
Cinemaslides is a commandline tool to build slideshows and pack them up as digital cinema packages (DCPs). It has preview modes to check how transitions (fades, crossfades, cuts) and timings play out. If you must you can tell Cinemaslides to go 24fps-carousel-berserk and pack up your motion picture1, too. It can sign packages, build encrypted DCPs and has a KDM mode to create key delivery messages. It allows to generate a CompositionMetadataAsset (see ISDCF’s draft) and a Theater Key Retrieval item (see ISDCF’s draft).

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Using FFMPEG to convert DCPs to other formats

Using FFMPEG to convert DCPs to other formats | Knut Erik Evensen - KESE:
Ffmpeg can read the MXF files used in DCPs and automatically apply a XYZ-RGB color transform when converting them. With FFMPEG you can convert a DCP to a Prores file or a TS file that you can play on your PS3 to get some idea of how it looks and sound. You can even watch it in real time.

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Demystifying Digital Cinema Camera Specifications – A Talk by Panavision’s John Galt and Canon’s Larry Thorpe

Demystifying Digital Cinema Camera Specifications – A Talk by Panavision’s John Galt and Canon’s Larry Thorpe:
Filmed in 2008, this talk is still packed with pertinent information. Referenced on a number of websites but missing from Panavision’s media page, I’ve taken the time to repost it on Youtube. In this talk, Panavision’s John Galt and Canon’s Larry Thorpe discuss the finer points of sensor design and how it relates to sensor resolution and the quality of the final outputted image. Other topics include 3-chip vs. single chip Bayer array cameras, the design of optical low pass filters and the concept of limiting resolution. It’s a natural extension of John Galt’s article on 4K resolution on CreativeCow.net.

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TVLogic 30 Inch 4K DCI Monitor Plus 5 NEW Broadcast Models Coming to NAB

TVLogic 30 Inch 4K DCI Monitor Plus 5 NEW Broadcast Models Coming to NAB: : Cinescopophilia:
TVLogic is set to debut a new 30″ 4K DCI monitor specifically designed for demanding 4096 x 2160 DCI 4K digital cinema monitoring − featuring the widest viewing angle, contrast ratio, and colour gamut of any 4K display in its size and class.

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Digital cinema projection

Digital cinema projection:
Before screening a digital cinema package (DCP)/digital film you should do these steps:
These steps are taken from the Pixar Projection guidelines for Cars 2


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Some tips on making DCP trailers

Some tips on making DCP trailers:
Trailer DCPs should be delivered in two resolutions: 1998×1080 (Flat) and 2048×858 (Scope). This way the cinema can play the trailer before both Scope and Flat movies without changing presets on the projector. With common height cinemas a preset change involves zooming the lens and changing the side masking.

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DCI Converter

DCI Converter:

My goal was to match the conversion done in After Effects when using the "DCDM X'Y'Z'(Gamma 2.6) 5900K (by Adobe)" profile, but other programs seem to perform this conversion differently. Rather than debate whether I was doing it right or wrong, I decided the best thing to do was make my code visible and open for commentary and include a document describing the steps I was taking. You can see it here on GitHub.

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Understanding DCP – Digital Cinema Package

Understanding DCP – Digital Cinema Package:
What is DCP and why is it the future?
Digital Cinema Package’s are the future of cinema projection (sadly – I love film!) but if you’re not up to scratch yet on what it is, how it works and how to make use of a DCP then these resources are for you.

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Creating A Feature Film DCP Using OpenDCP

Creating A Feature Film DCP Using OpenDCP:
A step by step guide to understanding a Digital Cinema Package and creating one with the free, open source, OpenDCP software.

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How to make 25 FPS SMPTE DCPs with Interop subtitles that can be used in Easydcp player

How to make 25 FPS SMPTE DCPs with Interop subtitles that can be used in Easydcp player:
Easydcp player does not support SMPTE MXF subitles yet, but it can use Interop XML subtitles. With 25 FPS SMPTE DCPs with interop subtitles you can test 25 FPS subtitles in Easydcp player. You can also use easydcp player to play 25 FPS films transferred from HDCAM with added subtitles and 5.1 sound. Doremi has supported 25 FPS DCPs with Interop subtitles in their mastering software and server, this may be reason these DCPs are playable. Doremi supports SMPTE MXF subtitles on their servers when you use the Doremi’s internal subtitle engine, but not all servers do. SMPTE DCPs with Interop subtitles seems to be compatible with more servers than SMPTE DCPs with MXF subtitles. You can’t make these non-standard DCPs directly in Easydcp, but with some tricks it is possible to make one.

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Coming soon from Flanders Scientific: 12bit & XYZ Signal Support

Coming soon from Flanders Scientific: 12bit & XYZ Signal Support
Flanders Scientific is now showcasing a beta version of new firmware at IBC in Amsterdam that will soon be available to all FSI customers. This new firmware adds both 12 bit signal support and XYZ signal support to all Flanders Scientific monitors ensuring compatibility with some of the industry's most advanced 12bit serial digital input/output interfaces.

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Rohde & Schwarz DVS Presents CLIPSTER Version 5 with 8x Faster DCP Remastering

Rohde & Schwarz DVS Presents CLIPSTER Version 5 with 8x Faster DCP Remastering | 3Droundabout: At IBC 2012, Rohde & Schwarz DVS GmbH will be presenting version 5 of its CLIPSTER® DI workstation. The new feature set will impress users, especially in terms of its 3D performance. Furthermore, the DCP remastering process is now up to eight-times faster than before thanks to CLIPSTER’s new render pipeline.

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CuteDCP, DCP creation plugin for After Effects

CuteDCP, DCP creation plugin for After Effects:

Fandev announces CuteDCP, a DCP (Digital Cinema Package) creation tool for After Effects. CuteDCP is an exporting (output module) plugin which allows users to create DCPs from any file imported into After Effects and reduces the number of steps creating a DCP to a minimum. CuteDCP has been tested on most major play-out servers.

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TVTechnology: DVS to Highlight VENICE Media Production Hub at IBC

TVTechnology: DVS to Highlight VENICE Media Production Hub at IBC:
The CLIPSTER DI workstation incorporates a cutting-edge DCP QC Tool in the area of mezzanine-format generation which greatly accelerates performance in the DCP remastering process. The new render pipeline in CLIPSTER significantly boosts performance with processes running up to 8 times faster – a great benefit especially in DCI workflows with tight deadlines. CLIPSTER supports mezzanine formats like IMF (Interoperable Master Format) and follows the latest IMF standardization developments offering, among other things, CPL version 5 support.

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MIST and RAIN get new features

MIST and RAIN get new features:
Marquise Technologies has released some new features for MIST and RAIN.

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