Category Archives: Post

Post Production is post and prior—a lot of work taking other people’s material from dozens of sources and fitting it all into some other group’s needs. Very technical.

Video Processing

Discover8K.com Launched

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Berlin, Germany, August 31, 2020 – The 8K Association (8KA), the cross-industry group focused on facilitating the growth of the 8K ecosystem, today announced the availability of a powerful new website to help educate consumers about the benefits of 8K displays and content.

The newly launched Discover8K.com web site is now available to help consumers discover how the latest advancements in displays, cameras and home entertainment can bring exceptional visual performances to life. With 8K resolution technology, everyone can discover more detail, more depth and more powerful big-screen imagery – all from the comfort of home.

The new Discover8K.com site provides valuable tools to help consumers learn about the 8K ecosystem, including topics such as:

List of TVs from leading brands that meet the 8K Association’s performance standards
Information about current and upcoming sources of 8K content
Guidance for enjoying 8K entertainment at home – including ideal screen sizes and seating distances for immersive 8K cinematic or 8K gaming experiences
The advanced technology behind powerful 8K up-scaling
News about 8K of interest to consumers

“The 8K Association was founded to bring together content creators, technology providers, panel manufacturers, TV brands and more to accelerate the expansion of the 8K ecosystem. But ultimately it will be consumers who determine how quickly 8K technology is adopted,” noted 8KA Marketing Work Group Chair, Aaron Dew. “Consumers who understand the benefits of 8K ultra-sharp big-screen displays, finely-detailed 8K gaming and the power of immersive 8K video are going to speed the transition to 8K. That’s why the 8K Association launched the new Discover8K.com web site to help educate consumers on all the benefits of enjoying big-screen 8K entertainment at home.”

8K refers to the latest and highest-resolution standard for content creation, distribution and television displays that enables over 33 million pixels of resolution, which is 4 times sharper than the UHD / 4K standard. With a growing number of 8K TVs now in the market from several leading TV brands that meet the 8K Association’s certification program standards, along with emerging sources of native 8K content, there is an increasing consumer interest in discovering more about 8K and why 8K resolution is a perfect fit for big-screen TVs.

Along with the newly launched consumer education web site, the 8K Association is preparing a “State of 8K” webinar for press and industry professionals to provide an update on the progress made in 8K deployments and the remaining technical and business milestones needed to complete the full roll-out of the 8K ecosystem. With insights and technical input from all parts of the 8K production, distribution and display segments, the “State of 8K” webinar will serve as a valuable tool to educate industry professional and define the remaining work that members of the 8K Association and others will need to complete before 8K is universally available.

The 8K Association Fall 2020 “State of 8K” webinar will be held on September 15, 2020. Registration information and full details will be available soon at: www.8KAssociation.com

White Papers Post

Design a Cinema Auditorium, How To – Rolv Gjestland

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There should be laws against putting this much data, with this much nuance, with this much extraordinary organization and pictures and explanation. …or, awards perhaps. Yes, awards.

There is a new document online from the European cinema organization named UNIC. Subtitled as the Practical Guidelines for Architects, Cinema Owners and Others Involved in Planning and Building Cinemas, the How to Design A Cinema Auditorium book is 65 pages of very strait forward and coherent information. It can be downloaded from <https://unic-cinemas.org/fileadmin/CinemaAuditoriumDesign_v1.0.pdf>  

Rolv Gjestland has been working for the Norwegian Cinema nonprofit trade organisation Film&Kino since 1984. He is their consultant in cinema technology and cinema design. 

White Papers Post

Design a Cinema Auditorium, How To – Rolv Gjestland

Leave a comment

There should be laws against putting this much data, with this much nuance, with this much extraordinary organization and pictures and explanation. …or, awards perhaps. Yes, awards.

There is a new document online from the European cinema organization named UNIC. Subtitled as the Practical Guidelines for Architects, Cinema Owners and Others Involved in Planning and Building Cinemas, the How to Design A Cinema Auditorium book is 65 pages of very strait forward and coherent information. It can be downloaded from <https://unic-cinemas.org/fileadmin/CinemaAuditoriumDesign_v1.0.pdf>  

Rolv Gjestland has been working for the Norwegian Cinema nonprofit trade organisation Film&Kino since 1984. He is their consultant in cinema technology and cinema design. 

White Papers Post

Design a Cinema Auditorium, How To – Rolv Gjestland

Leave a comment

There should be laws against putting this much data, with this much nuance, with this much extraordinary organization and pictures and explanation. …or, awards perhaps. Yes, awards.

There is a new document online from the European cinema organization named UNIC. Subtitled as the Practical Guidelines for Architects, Cinema Owners and Others Involved in Planning and Building Cinemas, the How to Design A Cinema Auditorium book is 65 pages of very strait forward and coherent information. It can be downloaded from <https://unic-cinemas.org/fileadmin/CinemaAuditoriumDesign_v1.0.pdf>  

Rolv Gjestland has been working for the Norwegian Cinema nonprofit trade organisation Film&Kino since 1984. He is their consultant in cinema technology and cinema design. 

Video Processing

Confusing Definitions – Home and Away | Dolby Vision 4 and More

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 Talking 2020 and pointers colors techThe panelists of both events discussed and showed many things with great nuance. Many flavors of the CIE chart were presented by everyone, with a touch of explanation for each – and the star at both events was Pointers Colors. The undiscussed star was: Library. It reminded one of 2007 SMPTE/NAB CinemaDays, when Chris Cookson from Warners made the point that every effort would be made to encourage producers to produce in 4K, even at greater cost and complication, because: Think of the Library. Now, when asked, what color space do you consider for the producer and how is that influenced, the unchallenged quip was: What color is the ink on the check.

The immediate question of what color space to work in ranges from quick and dirty unscripted television and less demanding wedding productions to movies shot on film and delivered to the Netflix streaming specNetflix streaming spec. All agree that the course of TVs in the home and the high end of cinema is some version of larger color spaces. All agree that the future viewer will be used to seeing at least the P3 space, if not more. Cinema is already there with P3, with an advancing capability toward 2020 – perhaps what Bill Beck used to call 1919, or what Dave Stump calls P3 and a half. Home TV is being sold as 2020 capable, but deliverables are at best – with some exceptions – P3 in a 2020 container. DVD (in the 601 space) and Blu-Ray (in the 709 space) has been on a downward trend, with fewer and fewer sold (notwithstanding the Lionsgate announcement last week of John Wick III selling three million units in combined packaged media (DVD, Blu-ray, 4K HD), EST and Video on Demand rentals), and it seems that industry leader Samsung is throwing in the towel on 4K UHD Blu-ray.

What the colorists group first saw was the latest advancement of finishing tools in Dolby 4.0, presented by Greg Hamlin. Although technically 4.0 has been released for a while, it takes quite a while for the components to be developed and then incorporated into the post production equipment and – pointed out many times – having a great capable monitor, something well above the minimum requirement of 1000 nits. Appreciating his resume, people appreciated his guidance – start with the automated analysis and improve from there depending on what you need. Among the nice improvements that new equipment is starting to facilitate are many nuanced choices in color management like secondary saturation and trims, which have been strong wishes for a while, and the ability to take in and push out to Apple’s ProRes 4444 XQ instead of being ‘limited’ to 16 bit TIFFs.

from grading system output to Dolby Mastering Workflow

Larry Chertoff led part 2 of the Colorists exploration by showing the latest advancements in MTI’s Cortex system – too much detail to explain, but again, automatic analysis combined with elegant views of light and color – almost as if you are watching audio go by – bring very clever precision to the colorists game.

For a roundup of details and the complications, see the SMTPE Technology Essentials Series Webcast HDR, 4K, and Beyond from Molly Hill, Applications Engineer, Dolby Laboratories. 

Mystery Box also has a nice summation at: DOLBY VISION AND INDEPENDENT FILMMAKING

  

Video Processing

Confusing Definitions – Home and Away | Dolby Vision 4 and More

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 Talking 2020 and pointers colors techThe panelists of both events discussed and showed many things with great nuance. Many flavors of the CIE chart were presented by everyone, with a touch of explanation for each – and the star at both events was Pointers Colors. The undiscussed star was: Library. It reminded one of 2007 SMPTE/NAB CinemaDays, when Chris Cookson from Warners made the point that every effort would be made to encourage producers to produce in 4K, even at greater cost and complication, because: Think of the Library. Now, when asked, what color space do you consider for the producer and how is that influenced, the unchallenged quip was: What color is the ink on the check.

The immediate question of what color space to work in ranges from quick and dirty unscripted television and less demanding wedding productions to movies shot on film and delivered to the Netflix streaming specNetflix streaming spec. All agree that the course of TVs in the home and the high end of cinema is some version of larger color spaces. All agree that the future viewer will be used to seeing at least the P3 space, if not more. Cinema is already there with P3, with an advancing capability toward 2020 – perhaps what Bill Beck used to call 1919, or what Dave Stump calls P3 and a half. Home TV is being sold as 2020 capable, but deliverables are at best – with some exceptions – P3 in a 2020 container. DVD (in the 601 space) and Blu-Ray (in the 709 space) has been on a downward trend, with fewer and fewer sold (notwithstanding the Lionsgate announcement last week of John Wick III selling three million units in combined packaged media (DVD, Blu-ray, 4K HD), EST and Video on Demand rentals), and it seems that industry leader Samsung is throwing in the towel on 4K UHD Blu-ray.

What the colorists group first saw was the latest advancement of finishing tools in Dolby 4.0, presented by Greg Hamlin. Although technically 4.0 has been released for a while, it takes quite a while for the components to be developed and then incorporated into the post production equipment and – pointed out many times – having a great capable monitor, something well above the minimum requirement of 1000 nits. Appreciating his resume, people appreciated his guidance – start with the automated analysis and improve from there depending on what you need. Among the nice improvements that new equipment is starting to facilitate are many nuanced choices in color management like secondary saturation and trims, which have been strong wishes for a while, and the ability to take in and push out to Apple’s ProRes 4444 XQ instead of being ‘limited’ to 16 bit TIFFs.

from grading system output to Dolby Mastering Workflow

Larry Chertoff led part 2 of the Colorists exploration by showing the latest advancements in MTI’s Cortex system – too much detail to explain, but again, automatic analysis combined with elegant views of light and color – almost as if you are watching audio go by – bring very clever precision to the colorists game.

For a roundup of details and the complications, see the SMTPE Technology Essentials Series Webcast HDR, 4K, and Beyond from Molly Hill, Applications Engineer, Dolby Laboratories. 

Mystery Box also has a nice summation at: DOLBY VISION AND INDEPENDENT FILMMAKING

  

Video Processing

Confusing Definitions – Home and Away | Dolby Vision 4 and More

Leave a comment

 Talking 2020 and pointers colors techThe panelists of both events discussed and showed many things with great nuance. Many flavors of the CIE chart were presented by everyone, with a touch of explanation for each – and the star at both events was Pointers Colors. The undiscussed star was: Library. It reminded one of 2007 SMPTE/NAB CinemaDays, when Chris Cookson from Warners made the point that every effort would be made to encourage producers to produce in 4K, even at greater cost and complication, because: Think of the Library. Now, when asked, what color space do you consider for the producer and how is that influenced, the unchallenged quip was: What color is the ink on the check.

The immediate question of what color space to work in ranges from quick and dirty unscripted television and less demanding wedding productions to movies shot on film and delivered to the Netflix streaming specNetflix streaming spec. All agree that the course of TVs in the home and the high end of cinema is some version of larger color spaces. All agree that the future viewer will be used to seeing at least the P3 space, if not more. Cinema is already there with P3, with an advancing capability toward 2020 – perhaps what Bill Beck used to call 1919, or what Dave Stump calls P3 and a half. Home TV is being sold as 2020 capable, but deliverables are at best – with some exceptions – P3 in a 2020 container. DVD (in the 601 space) and Blu-Ray (in the 709 space) has been on a downward trend, with fewer and fewer sold (notwithstanding the Lionsgate announcement last week of John Wick III selling three million units in combined packaged media (DVD, Blu-ray, 4K HD), EST and Video on Demand rentals), and it seems that industry leader Samsung is throwing in the towel on 4K UHD Blu-ray.

What the colorists group first saw was the latest advancement of finishing tools in Dolby 4.0, presented by Greg Hamlin. Although technically 4.0 has been released for a while, it takes quite a while for the components to be developed and then incorporated into the post production equipment and – pointed out many times – having a great capable monitor, something well above the minimum requirement of 1000 nits. Appreciating his resume, people appreciated his guidance – start with the automated analysis and improve from there depending on what you need. Among the nice improvements that new equipment is starting to facilitate are many nuanced choices in color management like secondary saturation and trims, which have been strong wishes for a while, and the ability to take in and push out to Apple’s ProRes 4444 XQ instead of being ‘limited’ to 16 bit TIFFs.

from grading system output to Dolby Mastering Workflow

Larry Chertoff led part 2 of the Colorists exploration by showing the latest advancements in MTI’s Cortex system – too much detail to explain, but again, automatic analysis combined with elegant views of light and color – almost as if you are watching audio go by – bring very clever precision to the colorists game.

For a roundup of details and the complications, see the SMTPE Technology Essentials Series Webcast HDR, 4K, and Beyond from Molly Hill, Applications Engineer, Dolby Laboratories. 

Mystery Box also has a nice summation at: DOLBY VISION AND INDEPENDENT FILMMAKING

  

Video Processing

DCI – New HDR and Direct View Display Docs

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The difference is that these documents are very fleshed out, reading more like a SMPTE document than a brief one what one should consider, and are complete with Normative References and a Glossary, in addition to the required formulas and charts.

Interesting highlights include the luminance parameters for 500 candela/m2 (146 fL) with stricter tolerances and roll offs at the edges and corners. A minimum black level of 0.005 cd/m2 is specifically mentioned, which is a 5 decimal point swing, or 100,000:1. It was nice to see that P3D65 makes an appearance as the White Point, coming on the heels of the latest revision of ST 2067-102:2017

SDR ranges are also specified, with a black level under 0.01 cd/m2 being the level under which the display shall never reproduce. This might protect grey fuzzies from appearing in place of blacks in SDR releases shown through HDR machinery. References to 5,000:1 for SDR are mentioned in the Direct View Display document, but not the HDR. In fact, there is an actual paucity of the word Contrast, though not a dearth…it is mentioned once and implied a few times.

High Frame Rates are also detailed in the Direct View document, in Edit Units per second. 

Many other details…go to:

DCI DRAFT High Dynamic Range D-Cinema Addendum version 0.9 (PDF) 
Click here: http://dcimovies.com/drafts/DCI-DRAFT-HDR-D-Cinema-Addendum_v09_2018-1116.pdf

DCI DRAFT Direct View Display D-Cinema Addendum version 0.9 (PDF)
Click here: http://dcimovies.com/drafts/DCI-DRAFT-Direct-View-Display-D-Cinema-Addendum_v09_2018-1116.pdf

Video Processing

DCI – New HDR and Direct View Display Docs

Leave a comment

The difference is that these documents are very fleshed out, reading more like a SMPTE document than a brief one what one should consider, and are complete with Normative References and a Glossary, in addition to the required formulas and charts.

Interesting highlights include the luminance parameters for 500 candela/m2 (146 fL) with stricter tolerances and roll offs at the edges and corners. A minimum black level of 0.005 cd/m2 is specifically mentioned, which is a 5 decimal point swing, or 100,000:1. It was nice to see that P3D65 makes an appearance as the White Point, coming on the heels of the latest revision of ST 2067-102:2017

SDR ranges are also specified, with a black level under 0.01 cd/m2 being the level under which the display shall never reproduce. This might protect grey fuzzies from appearing in place of blacks in SDR releases shown through HDR machinery. References to 5,000:1 for SDR are mentioned in the Direct View Display document, but not the HDR. In fact, there is an actual paucity of the word Contrast, though not a dearth…it is mentioned once and implied a few times.

High Frame Rates are also detailed in the Direct View document, in Edit Units per second. 

Many other details…go to:

DCI DRAFT High Dynamic Range D-Cinema Addendum version 0.9 (PDF) 
Click here: http://dcimovies.com/drafts/DCI-DRAFT-HDR-D-Cinema-Addendum_v09_2018-1116.pdf

DCI DRAFT Direct View Display D-Cinema Addendum version 0.9 (PDF)
Click here: http://dcimovies.com/drafts/DCI-DRAFT-Direct-View-Display-D-Cinema-Addendum_v09_2018-1116.pdf

Audio Processing

Deep Immersive Sounds, Plus…Cool Interview

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The full Press Release reads as follows. It has links to the documents which are behind firewalls. There are still documents to go, some which will follow these from 25-CSS and some from the hallowed halls of 21DC, which typically takes care of the means of putting tools like these into the DCP…but that can’t be talked about…First Rule, and all that. But there is a great interview with Brian Vessa from Aimée Ricca of SMPTE that gives a lot of great info. The link is at the end.

Brian Vessa; the Rowdy Yates of 25-CSS
Brian Vessa; the Rowdy Yates of 25-CSS

SMPTE Publishes Immersive Audio Standards for Cinema

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. —Sept. 25, 2018 — SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program. 

SMPTE ST 2098-5defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.  

Podcast: Improving the Experience of Sound in the Cinema with Brian Vessa. Aimée Ricca sits down with Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment, to discuss the challenges of sound quality in the cinema and the ways that movie theaters can improve sound quality for moviegoers.

Further information about SMPTE and its standards work is available at smpte.org. 

For further information, 

 

SMPTE Contact:

Aimée Ricca 

Marketing and Communication

Tel: +1 914 205 2381

Email: [email protected]

Website: smpte.org/media
Audio Processing

Deep Immersive Sounds, Plus…Cool Interview

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The full Press Release reads as follows. It has links to the documents which are behind firewalls. There are still documents to go, some which will follow these from 25-CSS and some from the hallowed halls of 21DC, which typically takes care of the means of putting tools like these into the DCP…but that can’t be talked about…First Rule, and all that. But there is a great interview with Brian Vessa from Aimée Ricca of SMPTE that gives a lot of great info. The link is at the end.

Brian Vessa; the Rowdy Yates of 25-CSS
Brian Vessa; the Rowdy Yates of 25-CSS

SMPTE Publishes Immersive Audio Standards for Cinema

New Standards Simplify Distribution of Immersive Audio, Ensure Smooth and Consistent Playout on Various Immersive Sound Systems

WHITE PLAINS, N.Y. —Sept. 25, 2018 — SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced the publication of new SMPTE ST 2098 standards for immersive audio. The Society has published ST 2098-1:2018, Immersive Audio Metadata; ST 2098-2:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups.

“Immersive audio makes a significant impression on audiences, and because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,” said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment. “By supporting delivery of a standardized immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant Immersive sound systems.”

SMPTE ST 2098-1establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items supported in immersive audio content and, when appropriate, the range of values, value precisions, and cardinal values. (The format of the metadata items when carried in a bitstream or file is provided in SMPTE ST 2098-2.)

SMPTE ST 2098-2defines a coded representation (bitstream) that carries the audio essence and metadata necessary to reproduce a complete immersive audio program. 

SMPTE ST 2098-5defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This standard also provides guidance on typical locations of cinema loudspeakers used for immersive audio reproduction.

The new standards for immersive audio are available now in the SMPTE digital library hosted on the IEEE Xplore platform at https://ieeexplore.ieee.org/browse/standards/number/smpte/?queryText=immersive%20audio.  

Podcast: Improving the Experience of Sound in the Cinema with Brian Vessa. Aimée Ricca sits down with Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Entertainment, to discuss the challenges of sound quality in the cinema and the ways that movie theaters can improve sound quality for moviegoers.

Further information about SMPTE and its standards work is available at smpte.org. 

For further information, 

 

SMPTE Contact:

Aimée Ricca 

Marketing and Communication

Tel: +1 914 205 2381

Email: [email protected]

Website: smpte.org/media
Video Processing

Light Illusion IBC Show Specials | Probes and Software

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To order any of the following offers please e-mail: [email protected] stating the item requirements.
A quote for payment will be provided, with payment to be made via a bank transfer.
(PayPal payments are possible for an additional fee of 3.5%)
Please note some locations may incur a supplemental hardware shipping fee – this will be defined when a quotation is supplied.

LightSpace CMS Professional Discounts

LightSpace CMS Software – unlimited license availability, until end of IBC show
LightSpace XPT – Book price: £2,175.00 – Discount price: £1,087.50 – Discount value: £1087.50 – Discount percentage: 50%
LightSpace PRO – Book price: £1,875.00 – Discount price: £1,125.00 – Discount value: £750.00 – Discount percentage: 40%
LightSpace CAL – Book price: £1,275.00 – Discount price: £828.75 – Discount value: £446.25 – Discount percentage: 35%
LightSpace LTE – Book price: £525.00 – Discount price: £367.50 – Discount value: £157.50 – Discount percentage: 30%

LightSpace CMS Home Cinema Discounts

LightSpace CMS Software – unlimited license availability, until end of IBC show
LightSpace HTP – Book price: £1,125.00 – Discount price: £675.00 – Discount value: £450.00 – Discount percentage: 40%
LightSpace HTL – Book price: £375.00 – Discount price: £262.50 – Discount value: £112.50 – Discount percentage: 30%

If any of the above software discounts are to be combined with a LightSpace CMS upgrade, say from LightSpace LTE to LightSpace XPT, the discount percentage will be applied ‘after’ the upgrade cost is calculated, as stated on the Support pages of the website.

Probe Discounts

Klein Probes – three (3) units available each model, until end of IBC show
Klein K10-A – Book price: £5,482.00 – Discount price: £4,385.60 – Discount value: £1096.40 – Discount percentage: 20%
Klein K80 – Book price: £3,971.00 – Discount price: £3,176.80 – Discount value: £794.20 – Discount percentage: 20%

Jeti Probes – unlimited unit availability, until 17th October
Jeti Spectraval 1501 – Book price £4,859.00 – Discount price: £4,081.56 – Discount value: £777.44 – Discount percentage: 16%
Jeti Spectraval 1511 – Book price: £6,185.00 – Discount price: £5,195.40 – Discount value: £989.60 – Discount percentage: 16%
Jeti Specbos 1211L – Book price: £6,516.00 – Discount price: £5,473.44 – Discount value: £1042.56 – Discount percentage: 16%

basICColor DISCUS probe – three (3) units available, until end of IBC show
basICColor DISCUS – Book price: £746.00 – Discount price: £671.40 – Discount value: £74.60 – Discount percentage: 10%

X-Rite Probes – unlimited unit availability, until end of IBC show
i1 Display Pro OEM – Book price: £227.00 – Discount price: £192.95 – Discount value: £34.05 – Discount percentage: 15%
i1 Pro 2 – Book price: £874.00 – Discount price: £742.90 – Discount value: £131.10 – Discount percentage: 15%

Signal Generators & Analysers Discount

Murideo Generator & Analyser – unlimited unit availability, until end of IBC show
Murideo SIX-G – Book price: £1,982.00– Discount price: £1,585.60 – Discount value: £396.40 – Discount percentage: 20%
Murideo SIX-A – Book price: £1,596.00– Discount price: £1,278.80 – Discount value: £317.20 – Discount percentage: 20%

LUT Box Discount

Murideo LUT Box – unlimited unit availability, until end of IBC show
Murideo Prisma – Book price: £793.00– Discount price: £ 591.20 – Discount value: £147.80 – Discount percentage: 20%

To order any of the above offers please e-mail: [email protected] stating the item requirements.
A quote for payment will be provided, with payment to be made via a bank transfer.
(PayPal payments are possible for an additional fee of 3.5%)
Please note some locations may incur an additional hardware shipping fee – this will be defined when a quotation is supplied.