DCP packaging inside FCP Studio from QuVis

[Thomas Mathai]

http://www.quvis.com/?Action=News&SubAction=View&FrameText=Yes&NewsID=122

[Andrew Walker]

This is great news. Now I can encode my projects in 2K and bring them over to the studio to play with and show off.

[Gunleik Groven]

some questions, though...

It is 4:2:2 as of yet
What is the bit depth?
Can you add subtitles?

STuff like that.

Great news anyhow

[Mark L. Pederson]

some questions, though...

It is 4:2:2 as of yet
What is the bit depth?
Can you add subtitles?

STuff like that.

Great news anyhow

12 bit 444 XYZ color space - I have a bunch of details on this and two other DCP solutions - will post soon - at the airport catching a plane back to NYC -

The Quvis app does NOT support subtitles but DOES support KDM (decryption keys) - which is huge -

More details soon on this + QubeMaster Pro +Fraunhofer Institute's easyDCP - (windows only - Mac version in three weeks) - free 6 month trial here (burns watermark) www.dcinema.fraunhofer.de

[Gunleik Groven]

According to a mail I have from Quvis yesterday, it is 4:2:2 for now but will be upgraded to 4:4:4

[Mark L. Pederson]

According to a mail I have from Quvis yesterday, it is 4:2:2 for now but will be upgraded to 4:4:4

correct - I was told 444 support would be very soon -

[Mark L. Pederson]

This is great news. Now I can encode my projects in 2K and bring them over to the studio to play with and show off.

yup - but another BIG opportunity here is encoding commercials to play at the theater.

[Andrew Walker]

It would be cool to use the servers that the studios and the theaters have instead of going out to tape, which can only do 1080p. To have a short or feature in 2K 4:4:4 would be awesome and well worth the money for the plug-in.

[techguy on the prairie]

Wraptor is a 16 bit per component 4:4:4 software tool as shipped.

If you are using a workflow other than 4:4:4, the conversion to 4:4:4 happens in FCP/Compressor, when Wraptor asks for source data.

For best results do your workflow in a format that supports conversion to R4FL (FCP's 4 component 32 bit floating point 128 bit pixel format) this will provide the best results.

[Justin Kirchhoff]

$699...not bad at all.

[Obin Olson]

this is huge. Wow so many companies are
going to scream bloody murder. This really f$)ks
the dcp mastering houses :( but its great for the consumer!

Count me in for a copy, this is far cheaper then we just spent
for a 2k master.

[Obin Olson]

6ch of 24bit audio for dolby5.1 mastering?

[Gunleik Groven]

Wraptor is a 16 bit per component 4:4:4 software tool as shipped.

If you are using a workflow other than 4:4:4, the conversion to 4:4:4 happens in FCP/Compressor, when Wraptor asks for source data.

For best results do your workflow in a format that supports conversion to R4FL (FCP's 4 component 32 bit floating point 128 bit pixel format) this will provide the best results.

Which would be which format?

I guess the plug does the conversion from RGB to XYZ?

[Sanjin Jukic]

Amazing!

We are ready for a screening in any Digital Cinema Theater just for 521.32 EUR.

Wraptor - Digital Cinema Mastering Plug-in for Final Cut Studio 2 (http://store2.esellerate.net/store/catalog.aspx?s=STR3843461756&pc=)

Brochure PDF>>> (http://www.quvis.com/pdf/products/QuVIS_Wraptor_09_15_2008.pdf)

[M Most]

It would be cool to use the servers that the studios and the theaters have instead of going out to tape, which can only do 1080p.

Under the DCI specification, a 1.85:1 presentation at 2K consists of frames whose active picture area is 1998x1080. That's not a whole lot different than 1920x1080. The difference is in the colorspace, and one of the implications of that is that a DCP that is created from something that is a Quicktime file, and that has been color corrected to look good on an LCD screen, is not necessarily going to look the same under digital cinema projection conditions. And making a DCP purely in software takes quite a while. So without a way to check the DCP, or at least a partially created file, on a DCI compliant server/projector in a properly set up screening room, there is at least a significant chance that what you see won't be what you expected to see. That's part of what you're paying for when you have a digital intermediate company, who does these things for a living, create one for you. It gets screened, checked, and recorrected if necessary so that what is on the screen is what is supposed to be on the screen. That, and an assurance that what is delivered will pass studio level QC and work on all servers.

Do it yourself if you want. But be aware that a DCP is not a videotape dub, and it is not a Flash file. It involves conversion to a color space and white point that you can't really monitor properly unless you have a screening room, and technical issues that few people actually understand.

[M Most]

this is huge. Wow so many companies are
going to scream bloody murder. This really f$)ks
the dcp mastering houses :( but its great for the consumer!


Yeah, right. Just like Apple Color has "f$)ked" the DI companies?

The fact is that there is the do it yourself and no budget community, and there is the professional, budgeted production and post industry. They are two significantly different things, with two significantly different sets of needs. DI facilities provide a level of expertise, artistry, turnaround capability, technical experience, and responsibility for the final product that individuals don't even have to think about. For those who value these things - namely, the professionals I mentioned previously - the services and personnel that are provided by finishing companies will not diminish in value simply because a do it yourself tool based on Quicktime files is available for the do it yourself, no budget market.

[Sanjin Jukic]

Under the DCI specification, a 1.85:1 presentation at 2K consists of frames whose active picture area is 1998x1080. That's not a whole lot different than 1920x1080. The difference is in the colorspace, and one of the implications of that is that a DCP that is created from something that is a Quicktime file, and that has been color corrected to look good on an LCD screen, is not necessarily going to look the same under digital cinema projection conditions. And making a DCP purely in software takes quite a while. So without a way to check the DCP, or at least a partially created file, on a DCI compliant server/projector in a properly set up screening room, there is at least a significant chance that what you see won't be what you expected to see. That's part of what you're paying for when you have a digital intermediate company, who does these things for a living, create one for you. It gets screened, checked, and recorrected if necessary so that what is on the screen is what is supposed to be on the screen. That, and an assurance that what is delivered will pass studio level QC and work on all servers.

Do it yourself if you want. But be aware that a DCP is not a videotape dub, and it is not a Flash file. It involves conversion to a color space and white point that you can't really monitor properly unless you have a screening room, and technical issues that few people actually understand.

Mmost,

And do it yourself or an independent digital cinema Renaissance man that used to shoot on RED

could get look and feel of her/his movie at any digital projection with a little help of Apple Shake:

http://homepage.mac.com/sanjinjukic/RED/videoProjector_look.jpg
TrueLight FilmLight Plug-in filter built-in at Apple Shake 4.1.

[techguy on the prairie]

Under the DCI specification, a 1.85:1 presentation at 2K consists of frames whose active picture area is 1998x1080. That's not a whole lot different than 1920x1080. The difference is in the colorspace, and one of the implications of that is that a DCP that is created from something that is a Quicktime file, and that has been color corrected to look good on an LCD screen, is not necessarily going to look the same under digital cinema projection conditions. And making a DCP purely in software takes quite a while. So without a way to check the DCP, or at least a partially created file, on a DCI compliant server/projector in a properly set up screening room, there is at least a significant chance that what you see won't be what you expected to see. That's part of what you're paying for when you have a digital intermediate company, who does these things for a living, create one for you. It gets screened, checked, and recorrected if necessary so that what is on the screen is what is supposed to be on the screen. That, and an assurance that what is delivered will pass studio level QC and work on all servers.

Do it yourself if you want. But be aware that a DCP is not a videotape dub, and it is not a Flash file. It involves conversion to a color space and white point that you can't really monitor properly unless you have a screening room, and technical issues that few people actually understand.

There is a lot to be said for experience, and having the proper resources available when creating content.

That being said, the same company bringing you Wraptor also makes real time recording hardware that will take in RGB, YUV, or XYZ and output a JPEG2000 DCP package.
The hardware is also capable of generating 3-D packages.

Starting price there is a bit more.

[Gunleik Groven]

Wraptor is a 16 bit per component 4:4:4 software tool as shipped.

For best results do your workflow in a format that supports conversion to R4FL (FCP's 4 component 32 bit floating point 128 bit pixel format) this will provide the best results.


What file format would comply with these criterias?
Would 10 bit DPX with gluetools work?
What with AJAs RGB codec?

Is the DCI spec a kind of log format?

Gunleik

[Andrew Walker]

Under the DCI specification, a 1.85:1 presentation at 2K consists of frames whose active picture area is 1998x1080. That's not a whole lot different than 1920x1080. The difference is in the colorspace, and one of the implications of that is that a DCP that is created from something that is a Quicktime file, and that has been color corrected to look good on an LCD screen, is not necessarily going to look the same under digital cinema projection conditions. And making a DCP purely in software takes quite a while. So without a way to check the DCP, or at least a partially created file, on a DCI compliant server/projector in a properly set up screening room, there is at least a significant chance that what you see won't be what you expected to see. That's part of what you're paying for when you have a digital intermediate company, who does these things for a living, create one for you. It gets screened, checked, and recorrected if necessary so that what is on the screen is what is supposed to be on the screen. That, and an assurance that what is delivered will pass studio level QC and work on all servers.

Do it yourself if you want. But be aware that a DCP is not a videotape dub, and it is not a Flash file. It involves conversion to a color space and white point that you can't really monitor properly unless you have a screening room, and technical issues that few people actually understand.

If getting what you corrected to on a LCD is a problem I'm sure someone will come out with a LUT that can be used.

Sanjin, Warner Bros. is using a TrueLight system right now in one of their screening rooms. "Speed Racer", "Tropic Thunder" and "Whiteout" are a couple of the films that have been using it to screen final VFX sequences. I know the plug-in that Shake offers is just a little taste of TrueLight but at least some big shows have signed off on using it for their applications. I would be interested to see how that TrueLight setting looks up on the screen.

[Stuart Gosling]

yes I agree.

However, could there be a compromise? A sort of "off-line" DCP? Most of the work could be done in a low cost but powerful program like "color" with as much monitor calibration as possible and then rendered out and passed on to DI company to finish it to the high standards you rightly mentioned. Would there be savings to be had? would it buy more creative time?

Also, is the Pro Res 422 acceptable for mastering to a DI?