Dolby Vision Mastering in UAE

HDR

HDR is considered an important new technological step in image display since it provides an immediately visible clear improvement in image quality, even to the untrained eye and independently of image resolution, screen size or viewing distance. In addition, the increase in data rate for an HDR signal is minimal, thus creating great visual impact for small increase in cost.

What is Dolby Vision?

Dolby has played a key role in the development of HDR for both commercial cinema and home theatre applications. The most significant advantage of Dolby Vision HDR is the addition of dynamic metadata to the core HDR image data.

This metadata carries scene-by-scene instructions that a Dolby Vision-capable display can use to make sure it portrays the content as accurately as possible. Dolby Vision-capable TVs combine the scene-by-scene information received from the source with an awareness of their own capabilities in terms of brightness, contrast and color performance.

The minimum specification for Dolby Vision mastering requires the use of reference monitors with a contrast ratio of 200,000:1, peak brightness of 1000 nits, color range ‘approaching’ the Rec 2020 standard, and support for the SMPTE ST-2084 HDR format.

Dolby Vision Content Producers

Netflix, Amazon Prime Video,Vudu, Lionsgate, Sony Pictures, Universal and Warner Bros - have all released Dolby Vision contents.
Note - It’s not mandatory for a content creator to deliver both HDR10 and Dolby Vision.

DOLBY VISION MASTERING IN UAE

DOLBY VISION MASTERING IN UAE

For more information & services on dolby vision mastering in UAE contact - www.pixelhouse.ae

DIT & my dit cart

DIT - Digital Image Technician

A DIT (Digital Imaging Technician) is responsible for assisting the DP by controlling image quality, troubleshooting, on-set color correction, and managing production workflow. 

Homepage-Cart.png

ON SET DIT

Real time 8k workflow, HDR & 360 VR monitoring system.

Key Responsibilities

  • Managing media offloads

  • Building LUTs with the DoP for the different scenes

  • Applying those LUTs to transcoded ProRes footage for the offline edit

  • Creating 720p dailies to be placed in DropBox for the above-the-line team (or “adults” as we sometimes call them) to follow along with the production.

My DIT cart

DIT cart is the basis for every digital imaging technician.

Assimilate Scratch
Davinci Resolve
Filmlight Daylight
Pomfort Silverstack

Rogue-Fixed1.png

Basic DIT kit

www.pixelhouse.ae

Grading for vevo - Gara Eh for Ahmed Hassan - EGYPT

Color grading S-log in Sony A7s series cameras

The Sony A7s was definitely one of the hottest cameras from 2014, and as it's been in use for several years now, As a colourist, I have had plenty of opportunity to discover how to obtain the best possible image from it.

When shooting in HD internally, there is a growing consensus among A7s users that it's best practice to expose to the right +2 S (ETTR) (that is, exposure should be compensated brighter without clipping highlights).

Here, the video illustrates the effectiveness of exposing to the right two stops and overexposing a shot and making some quick adjustments in a color grading and achieving the best results.

Before/After color grading

Ahmed Hassan - Gara Eh (Official Video)DOP: Mo Ismael
Editor: Emshad Al Haq
Colourist: Sudip Shrestha
Post Production: Pixel House UAE
Universal Music MENA

Pixelhouse Production

Pixel House is based in Dubai and started operations in 2013 with a main focus on producing TV shows and video production projects.

For more information please visit : pixelhouse.ae

Download Baselight 5.0 student version

Avid vs. FCP vs. Premiere for editing likewise Davinci resolve vs Baselight vs assimilate scratch for color grading. Its your choice. Filmlight recently updated Baselight and sent 90 days trial license to use student version of Baselight.

Train to be a professional Baselight colourist with support from FilmLight


Baselight STUDENT is a comprehensive version of FilmLight’s Baselight colour grading software—with GPU rendering—that runs on any supported Mac platform.

The principle limitation is that the application is restricted to render out only h.264* movies or JPEG images. With no watermarking, this means that Baselight STUDENT can be used to create academic-year projects within the limitation of the delivery formats. Along with conform capability, colour space handling, format editing and the ability to render both image sequences and movie files, this also makes the application the ideal tool to learn how to start your career as a professional colourist assistant.

As Baselight STUDENT is specifically intended to help people learn how to work with Baselight professionally, the licence is limited to a 90-day training period; however this can be reviewed if necessary when your licence expires.

Key features

The student application is built from exactly the same software source as the full Baselight system. That means that it will always be up-to-date with the latest release. 
For a full list of Baselight functionality, please see the datasheets in the Document Library on our web site. Some of the highlights of Baselight STUDENT include:

  • Support for control surfaces including Slate (but not Blackboard).

  • Optional AJA SDI monitoring.

  • 4:2:0 Y’CbCr cache allowing playback on lower-end machines.

  • Rendering capability for h.264* movies or JPEG image sequences.

    Join Baselight student program.

Blackmagic design eGPU Pro - not yet finished product

BMD EGPU.jpeg

External Graphics Processing Unit” is an idea that has been around for years, and in the R&D departments of video card manufacturers for even longer. The general concept involves hooking up a regular laptop to an external graphics card through a single cable, which can then take all of the load off your laptop’s internal GPU and put it on the more powerful extension instead.

Blackmagic Design has announced the new eGPU Pro, a Thunderbolt 3 equipped external GPU powered by a Radeon RX Vega 56 graphics processor. The original eGPU was only just released in July 2018 which uses the Radeon Pro 580 graphics card.

Will you buy Blackmagic design eGPU Pro?

In its current form: probably not (yet).

Being a Blackmagic Design product designed in collaboration with Apple, Davinci Resolve automatically recognises the eGPU and supports it, offering increased performance. But it is still an unfinished product.

Pros :
Sleek design• Super quiet • Pass-through charging for MacBooks with USB-C. Good gpu.

Cons :
Expensive • Non-replaceable graphics processor • Many apps aren't optimized for eGPU • Most apps don't support hot-plugging • eGPU support for macOS High Sierra and Mojave varies •

What’s missing in Blackmagic design egpu pro for digital cinema colorists?

We would like to see Decklink capture and playback cards built in with egpu pro.

decklink-4k-extreme-12g@2x.jpg

For more information about Blackmagic egpu pro.

Pixelhouse music video production "Sa’at Bansaha" by Magra B

PIXELHOUSE MUSIC PRODUCTION

Pixelhouse production, dubai has recently launched Pixelhouse music to promote local and international music artist, filmmaker and creative talents. Now, Artists and Labels can benefit from our services to promote their music. We work closely with independent musicians and recording companies to develop their multimedia projects.

We can manage the whole production process. Our team can work on a screenplay provided by the Customer. Otherwise, we can write a tailor made script. Our filming crew develops that into high quality video content that really matches the song.

We offers customized solutions to suit different music projects. We can handle a wide range of productions. Our video crew specializes filming singers, musicians, bands, or even orchestras performing. We supply locations, lighting kits, props, actors, and all the personnel and the equipment required to shoot music videos.

We also film live music events, concerts and shows. Our services include live streaming and broadcasting. Pixelhouse productions provides music video production in Abu Dhabi and Dubai, UAE.

Please feel free to contact us for any of our services. For more information please visit www.pixelhouse.ae

Credits :- Singer - MAGRA B Featuring - WALAA TAHA Cinematographer & Colorsit - SUDIP SHRESTHA Editor - EMSHAD AL HAQ 2nd Camera - HASHMI Production Assistant - PRASAD PRIYADARSHANA Camera Assistant - HAKIM LOMALA Art Director - SHRUTI OZA Sylist - SUSANNA OSEYAN Production Manager - AJMAL PM Music Composer - MAGRA B Lyrics - AHMED FARED Music Arranger - FEELO Sound Engineering - OMAR SALAH Song Mastering - JASSEM MOHAMED Recorded at - STUDIO AL WATAN Artistic Production - AHMED AL HARMAWEY

music video produciton dubai.JPG


Netflix color pipeline

NETFLIX Color Pipeline

Color Pipeline Requirements

It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.

Color pipeline documentation must be shared with production and post-production ahead of the first day of photography. 

Non-ACES Pipelines (Camera Native + Show LUT)

  • Working Color Space ust be defined and communicated to all departments.
    • Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut
  • Output / Show LU must be defined and shared between all departments.

ACES Pipelines

  • ACES Versio (i.e. v1.0.2) should be defined and shared between all departments. 

On-Set & Dailies Colo

  • CDLs only
    • No secondaries, keys, or power windows to ensure compatibility in post.
  • Order of operations is critical
    • CDLs must be applied before Output Transform.
    • See diagram below.
  • On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)
Color_Pipeline_v2.1_onset.png
Color_Pipeline_v2.1_SDR.png
Color_Pipeline_v2.1_HDR.png

Color Grading for Netflix

Color Grading: Dolby Vision / HDR

Netflix Originals are mastered, packaged, and delivered in the Dolby Vision format. From this package, we derive Dolby Vision, HDR10, and SDR streams for Netflix customers to enjoy.

netflix-dolby-vision-d01.jpg

Color grading suite requirement

  • Professional HDR monitor (Dolby-Vision certified, >1000 cd/m2)

    • Sony BVM-X300 (30 inch, 4K)

    • Dolby Pulsar (42 inch, HD)

    • Canon DV-2420 (24 inch, 4K)

    • Other HDR reference monitors as certified by Dolby for Dolby Vision HDR grading
  • Professional SDR monitor

    • Rec.709, BT.1886 / Gamma 2.4, 100 cd/m2

  • Color grading software with Dolby Vision support

    • Filmlight Baselight

    • DaVinci Resolve

    • Nucoda FilmMaster

    • Autodesk Lustre

    • Quantel Rio
  • Content Mapping Unit (CMU) System (per Dolby specification)

  • Dolby Vision License

    • Activates CMU and color grading plug-in

  • Dolby Vision Training

What to deliver for netflix?

Dolby Vision VDM (Video Display Master)

  • 16-bit TIFF frame sequence

    • Color Space: P3 D65, PQ (ST.2084), full-range

  • Dolby Vision XML file containing accurate metadata*


* Please ensure that all XML metadata is accurate, including Color Encoding, Mastering Display, and Aspect Ratio. Please use Dolby's metafier validation to ensure that there are no errors in the metadata.

Netflix approved camera, codecs and specs

Netflix Camera Requirements

alexa lf.jpg

4K UHD Resolution:

  • Camera must have a true 4K UHD sensor (equal to or greater than 3840 photosites wide).

Recording Format:

  • Minimum of 16-bit Linear or 10-bit Log processing
  • Bitrate of at least 240 Mbps (at 23.98/24 fps) recording
  • Recording format must be set to either:
    • RAW (uncompressed or lightly compressed sensor data)
    • COMPRESSED (Log Gamma - i.e. S-Log3, V-Log, CanonLog3, REDLogFilm, BMDLog, LogC, etc.)
  • No looks or color corrections should be baked into the original camera files.
  • Files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.)

Black Balancing:

  • If applicable, black balancing of camera sensors should be done daily, when the camera is at normal operating temperature.  See specific black balancing instructions in the camera operating manual.

Aspect Ratio / Framing:

  • Aspect ratios greater than 2.00:1 must be evaluated and discussed with Netflix for approval.
  • Framing chart must be shot before principal photography begins, and processed through the dailies pipeline which will be shared with editorial, post-production, and VFX.

Secondary Cameras:

  • Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) must be approved by Netflix.
  • Test footage should be shot and provided to dailies and post-production to ensure compatibility with primary camera.

NETFLIX 4K Approved Camera List – April 2018

  • Canon:
  • Panasonic
    • VariCam 35
    • VariCam LT
    • AU-EVA1
    • Varicam PURE
  • RED:
    • Weapon (Dragon) 6K
    • Weapon 8K
    • Weapon 8K S35 (Helium)
    • 8K Monstro
  • Panavision DXL
  • Sony
    • VENICE
    • F65
    • PMW-F55
    • Sony FS7
    • Sony F5
    • HDC-4300
    • PXW-Z450
  • ARRI Alexa 65
  • ARRI ALEXA LF
  • Blackmagic Design
    • URSA Mini 4.6K
    • URSA Mini Pro 4.6K

PIXELHOUSE COLOR GRADING SUITE UPDATED

Sudip baselight.jpg

We have recently upgraded our setup to whole new level.
- workflow support upto 8k@60fps
- SDR and HDR workflow
- hd, uhd format for amazon prime, netfilx, imax video mastering
- DCP creation
- 360 VR workflow solution
- Stereo 3D support
- Davinci Resolve Color Grading Suite.

Pixelhouse Production, is equipped with one of the best teams in the industry. We thrive in providing quality work at competitive rates and on time. We have the complete setup as a one stop shop from pre to post production. Whether it is Camera rental, Animation, CGI, Color Correction, Editing or VFX we have the infrastructure to provide it. Peruse our site to know all about us.

www.pixelhouse.ae

Creating dcp for vox cinemas Imax

Recently we created DCP for VOX CINEMAS IMAX.

KEY POINTS TO CHECK BEFORE YOU SUBMIT DCP FOR VOX CINEMAS

DCP SPECIFICATIONS
If you are supplying us with finished DCP please ensure that content supplied adheres to the
specifications outlined below and that files are pre-checked for quality.
Content is to be in widescreen 1.85:1 format due to technical restrictions on changing to
cinemascope format. It is preferred that images are not letter or pillar boxed. Content is to be
supplied on USB flash drive.
PICTURE FORMAT:
Colour space must be in a XYZ format
Widescreen aspect ratio must be 1998 X 1080 [1.85:1]
Picture frame rate must be 24 fps
Picture element must be in sync with the sound elements
AUDIO FORMAT:
Sound files Broadcast WAV format
Audio to be 7.1 full surround audio configuration
Sample rate 48KHZ and exactly 2000 audio samples per image, per image frame
Sound elements must be in sync with the picture element
The presentation level for sound must not exceed a loudness level of 82dB Leq
SOUND LEVEL RESTRICTIONS:
We require a loudness level that does not exceed an average of 82dB - JPEG 2000 sound
elements.
This standard is based on measurements by the Dolby LEQ Meter, which gives a numeric
value to a loudness average over the length of a commercial. The sound level of 82dB is
considered internationally to be the acceptable maximum level.
ELEMENTS SUPPLIED MUST INCLUDE:
An ASSETMAP file. This file must list all files that are included in the DCP
A CPL [composition playlist] data file (.XML)
A JP2k picture file (.mxf)
A PKL xml data file
A VOLINDEX data file
A wav audio file (.mxf)
COMPOSITION PLAYLISTS [CPLs] MUST COMPLY WITH THE DIGITAL CINEMA TITLE NAMING
CONVENTION
The below describes the naming convention for the Content Title Text and Annotation Text
fields in a Composition Playlist (CPL) for all Digital Cinema Packages (DCP).
The most significant information about the DCP is contained in the first 40 characters of the
CPL text fields, to accommodate certain digital cinema servers with limited user interface
character displays. Additional information is included for servers that can display more than
40 characters.
The title name must appear in the Content Title Text field and it may appear in the Annotation
Text field.
Under scores separate each field of information in the title name. Hyphens can be used to
separate words or parts within a field. No blank spaces are to be used. Generally, upper case
letters are used, with lower case letters used in specific instances as described below.

DCP VOX SUDIP.JPG

FOR EXAMPLE:
11513FRDFS302D_ADV_F_EN-XX_AU-AE_51-EN_2K_VM_20100601_DPM_OV
(ID no. 11513 client Ford product Fiesta length 30 seconds, Advertising, Flat, English audio
with no subtitles, for Australia ad not rated, 5.1 Audio with English narrative track, 2K
Resolution, distributed by Val Morgan, packaged on June 1 2010, at Digital Pictures
Melbourne, non-ghostbusted, original and entire version).

If you have problem creating DCP. We provide DCP creation Service from pixel house produciton. Contact us.

DaVinci Resolve Micro Panel Review

DaVinci Resolve Micro Panel Review

MEDIACAST, DUBAI, UAE loaned me a Blackmagic Resolve Micro panel for three days for this review. I must thank them for the experience. 

Colorist - Sudip Shrestha (Pixelhouse Production - Dubai,UAE)

Colorist - Sudip Shrestha (Pixelhouse Production - Dubai,UAE)

The Micro panel is a well-constructed metal console with precision trackballs, rings, knobs and buttons. Panel mimics the controls in the software so it is very handy to perform any kind of color grading tasks.

It features three high resolution trackballs and 12 precision machined control knobs for accessing all essential primary color correction tools. Above the center trackball are keys for switching between log and offset color correction, as well as a key to display DaVinci Resolve’s full screen viewer, which is great for use with laptops. Eighteen dedicated keys on the right side also give you access to the most commonly used grading features and playback controls.

Why do you need color control surface?

DAVINCI RESOLVE MICRO.jpeg

Any control surface, promises the user the ability to do the work of coloring without ever having to take his/ her eyes off of the image. Keyboard shortcuts and mouse will never let you simultaneously adjust color values in lift, gamma and gain so you need a dedicated hardware console for high end color grading tasks.
Most importantly, you need color control surface for SPEED, ACCURACY AND MULTITASKING.

DaVinci Resolve Micro Panel -  Pros

  • Awesome user experience and well built quality
  • Only for Davinci Resolve Colorists
  • Portable on desk as well as on location
  • Price

Cons

  • Works only with Davinci Resolve.
  • Few important keys are missing (copy/paste)
  • Cheaper and multi software support option available like Tangent ripple and oxygentec pro panel.
DaVinci Resolve Micro Panel is perfect for independent editors and colorists that need a truly portable solution, great on set to create looks and evaluate color and lighting, ideal for quickly grading video in broadcast trucks, great for education and much more!

ADOBE AI COLOR GRADING AND IT MATTERS

ADOBE AI COLOR GRADING

Adobe has introduced a Color Match feature, powered by its artificial intelligence engine Adobe Sensei. Color Match is able to take the color and light values from a reference image and then apply them as editable color adjustments to the current shot, all while intelligently adjusting for skin tones. 

With Color Match, it takes just a few clicks and adjustments to match the colors of various video clips. For broadcast-quality content, the Video Limiter ensures color grading meets broadcast standards. 
 

ADOBE SENSEI

Adobe Sensei is the magic behind the world's best digital experiences. It powers intelligent features across all Adobe products to dramatically improve the design and delivery of digital experiences, using artificial intelligence and machine learning in a common framework. 

Fundamentally different EPICOLOR

Artificial intelligence (AI) may be perceived as the future for software, but not everyone realises how much AI can do for color grading right now.

Lets talk about fundamentally different EPICOLOR

Even the best cameras in the world only record the incoming light and "see" color-shifts in a scene that would be imperceptible to the naked eye if observed in person

Based on an algorithm called Xe8472® which simulates the human brain visual system, the so-called Color Constancy it automatically corrects professional video to make it look natural and realistic without tedious manual correction

This technology is a first of it's kind and is the result of 15 years of research and development

for more info please visit - www.epicolor.film

Davinci Display for external monitor without using extra hardware

Davinci DIsplay

DaVinci Display is a virtual display for DaVinci Resolve. The main purpose of the application is to mirror the preview and allow to place it anywhere in your desktop. It enables you to have a picture preview in the external monitor without using extra hardware like Decklink or Unltrastudio.

How much does it cost?
US$ 25.00

Click HERE to download free trial:
 

Davinci Resolve Free Tutorial - Goat Eye View

Best Davinci Resolve Tutorial

If you are aspiring editor or colorist and looking for great resource to learn Davinci Resolve Software then we highly recommend Goat Eye View - Davinci Resolve tutorials.

Goat's Eye View, London-based post-production for film and television has produced a series of Davinci Resolve color grading tutorials by Daria Fissoun.
For more info - www.goatseyeview.co.uk

 

Best lut for vlogs - DSLR

Click on image to download the luts.

Click on image to download the luts.

These luts for vlogger are perfect to make your footage more cinematic.

This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with  Adobe Premiere Pro CC, Final Cut XDavinci Resolve and Assimilate Scratch.

Disclaimer

  • We have designed a creative lut.
  • It is calibrated for properly exposed and white balanced image in standard camera settings.
  • You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
  • For any DSLR clips shot in Neutral picture settings.
  • Developed using 3dlutcreator.