Category Archives: Video Processing

CGI, X'Y'Z' to P3, there are so many things going on. Here's the news.

Validating a DCP

To avoid black screens, the tech teams at the festivals do the yeoman’s work of cracking open recalcitrant DCPs and re-making them at the last minute. The artist may not even know that they should be relieved, and gets to the next festival believing…or saying, “Hey, it played at the last festival, it must be good.” Alas. Or they take it to a facility that specializes in subtitles likeTitra who is then forced to add a fee for remastering because they know that the old DCP won’t be accepted at a duplicators because of some error they are seeing. More alas, especially when it is going to cost time and money to find the reason for the error too.

One of those teams who have been providing tech support at large and high profile festivals for the past decade, such as the Berlinale, is zweiB, from the northern-most city in Italy – Munich. (This just in. Some are saying that Bavaria is part of Germany. Hmmm. Notwithstanding.) Their site has a tool named DCP-Validator which actually is a front end that humanizes a command line only tool named DCP-Inspect from Wolfgang Woehl’s Digital Cinema Tools excellent package of goodies. 

Just writting “…providing tech support…such as the Berlinale…” doesn’t do justice to the amount of work it takes to juggle hundreds upon hundreds of DCPs over a two week span at dozens of cinema screens. (Commercial cinemas, it should be added –  who don’t necessarily want to have working software/firmware changed just for the festival at night when they are playing regular schedules during the day, for example.) Likewise, describing DCP-Inspect as just an excellent package or listing a few features doesn’t tell of the years of keeping up with non-existent and moving standards. But here is a list nonetheless, taken from the zweiB’s site:

It is a tool for deep inspection and validation of DCPs. This includes integrity checks, asset inspection, schema validation, signature and certificate verification and composition summarization.

The GUI convinces with its user-friendly operation. Additionally, the Digital Cinema Packages are checked by its test functions for all DCI standards to ensure the playback performance on popular DCI players.

Putting a front end on this is a nice touch. It can print out a list of working DCPs and add a sense of calm in an otherwise rushing preasure situation. Making it available to us on an easy to use site with a running list of versions and fixes is a nice touch and extremely kind. The DCP Validator package works with the Ubuntu and Debian flavors of Linux. 

The article The DCP USB on a Mac; CineTechGeek to Digital Cinema Tools ends with using cinemaslides, another of the Digital Cinema Tools program. So installing DCP Validator is a very logical next step for a HowTo article.

…and easy to do.

Download a copy from the download page of the zweiB site, Zweib Download Site for dcp_inspect DCP Validator

Put the downloaded copy into your Shared Folder if you have downloaded it using your Mac or PC. Go into your Ubuntu installation and drag the installer package (marked at the end as a .deb file) onto the Desktop (or into the Desktop folder.) (This can all be done from the command line, but if you can do this from the command line, you don’t need any of these instructions.) It doesn’t have to be the Desktop, but the package will not install from the Shared Folder.

Right-Click or Command-click on the .deb package and open it using the Ubuntu Software Center…which will actually open if you merely double-click on the .deb file. Eventually the Software Center will put up an Install button, which you should click. 

Eventually the installer will ask for an admin password which, when given, will allow the installation to finish.

Reboot Ubuntu (or Debian.) This allows WebRick, a little webserver to run. DCP Validator runs on this webserver with your browser.

Open Firefox. Go to http://localhost:8080 – The Validator should come up. 

Click on the “Login” button. Type dcp, then click “Confirm”. You are now in the Admin area. 

(The online manuals show where and how to change the port number should you have something else running on 8080, and how to change the password if you into things like that.)

Click “Settings”. We need to put in the route for DCP-Validator to look for your DCPs on your hard drive. DCPs on a USB stick or USB drive will show up without this step. 

Click the “Add” button. If you know how to type in the root path, go ahead. Otherwise, open a folder using the Dock on the side, click on the Shared Folder, then hit the List icon on the top right if required. Manipulate your windows so that you can drag the folder containing your DCPs into the little Rootpath window on the DCP Validator page. If you are like me it will say file:///media/sf_shared_w_ubuntu/DCP_Finals. Erase the “file://” at the front, leaving the Rootpath as: “/media/sf_shared_w_ubuntu/DCP_Finals.”

Click the “Confirm” button. Click the “Back” button.

Click “Validate A New DCP”

Click on the /media folder line in the rectangle on the side.

Click on a DCP. Click on the DCP folder again. You’ll see the innards, the ASSETMAP, the VOLINDEX, and all the audio and video and reference files that make up the DCP. You should be able to hit the Validate button now. 

Click on “Validate” button. Make some coffee. Write a note telling me what was confusing about this or the DCP on a Mac article.

Pass? Green dot or Red? Click Show. Look at the report. Look at the levels. Balanced left and center? right and center? left and right? Surrounds look right? LFE? Cool.


If you followed James’ directions to a T, installing VirtualBox on the computer then Ubuntu as an iso drive, you can follow the zweiB manual to do the installation. Your USB drive should show right up on the list and things should be great without the step of showing the program of where to look.

And that is the end of this particular process.

The final version of the ISDCF document on Hard Disc Drive formats for DCP is just released, so download that from the ISDCF Technical Papers site.

Stay Standard. Do us all a favor, and Join SMPTE

BT.1886 Q&A – SpectraCal

When extended band-width in video is discussed, BT.1886 gets mentioned. What is it?

SpectraCal has a nice whitepaper on the subject.

Lest there be any confusion, SMPTE specifies a gamut, so this is not going to be in the DCI projector for movies for a while. But some clever cable box or satellite group might use it to make the darks better in an alternative content feed, for example.

10 Questions, 10 Answers – BT.1886

BT.1886 Q&A – SpectraCal

When extended band-width in video is discussed, BT.1886 gets mentioned. What is it?

SpectraCal has a nice whitepaper on the subject.

Lest there be any confusion, SMPTE specifies a gamut, so this is not going to be in the DCI projector for movies for a while. But some clever cable box or satellite group might use it to make the darks better in an alternative content feed, for example.

10 Questions, 10 Answers – BT.1886

Ouch~! If I can’t bankrupt a Post House…DD, 3D, In3, Disney

Can’t say for certain if a particular post site owner / producer actually said that he wasn’t trying hard enough if he couldn’t bankrupt a post house during one of his movie’s post. But like shuffling lounge chairs on the Titanic, Digital Domain and In-Three and Disney are all involved in the dustup coming from that mentality. 

Disney Seeks to Protect Right to Create 3D Movies in Digital Domain Bankruptcy – Hollywood Reporter

Ouch~! If I can’t bankrupt a Post House…DD, 3D, In3, Disney

Can’t say for certain if a particular post site owner / producer actually said that he wasn’t trying hard enough if he couldn’t bankrupt a post house during one of his movie’s post. But like shuffling lounge chairs on the Titanic, Digital Domain and In-Three and Disney are all involved in the dustup coming from that mentality. 

Disney Seeks to Protect Right to Create 3D Movies in Digital Domain Bankruptcy – Hollywood Reporter

Beginning To Color

Someday there will be a person needing to make a commercial for their local cinema, who used a nice camera and while editing everything realizes that the lights in the mall required some color tools…and knowledge. 

Here’s a nice place to start:

Magic Bullet Colorista II Tutorials by Stu Maschwitz on Vimeo

with some free tools:

Prolost – Blog – Two Free Color Correction Plug-ins from Red Giant Software

Beginning To Color

Someday there will be a person needing to make a commercial for their local cinema, who used a nice camera and while editing everything realizes that the lights in the mall required some color tools…and knowledge. 

Here’s a nice place to start:

Magic Bullet Colorista II Tutorials by Stu Maschwitz on Vimeo

with some free tools:

Prolost – Blog – Two Free Color Correction Plug-ins from Red Giant Software

File Festival Deliverables

Only a few years ago there were no festivals which offered to take DCPs (Digital Cinema Packages) as a regular item, then the big ones made the effort by making the DCPs from digital masters. Two years ago it was confusing and still uncommon for a DCP to be accepted, but rules were being set out and tested. This year it would be uncommon for a festival not to have a procedure for accepting a DCP.

But it is still a complicated process, for a lot of obvious and a lot of obscure reasons. The first question always seems to be, “Can’t I just deliver a QuickTime file? DCPs are soooo expensive.” The answer is: Yes you can. You can deliver something on tape as well, or an 8 bit DVD or 10 bit Blu Ray. (Oops! There is no 10 bit Blu Ray!!! only 8 bit.) You can introduce yourself in a suit that has been in mothballs for 10 years as well and give away 5 day old pre-buttered popcorn with your festival submission. But you don’t want to. The difference in quality between those and a correctly made DCP will be too striking, doing an injustice to your great plot and characters.

This will be the first in a series of festival information articles, and we start with a good package of data from Cine Tech Geek in the form of YouTube videos.

One last note before CineTech Geek’s great videos: DCinemaTraining.com would like to accept any materials to make a Film Festival Course. If you have interest in contributing, please write the editor of dcinematraining


James at CineTech Geek has been working as an integrator for cinemas in Australia, and also as a manufacturer and software engineer. His various websites are:

Company Site: DigitAll: http://www.digitall.net.au

YouTube – http://www.youtube.com/cinetechgeek

Personal Tech Blog – http://www.crafted.com.au/blog/

The clips begin with an ad for the digitAll dcpPlayer Version 2. If you are interested in DCPs, you should be interested in spending a mere $250 for a program that will allow you to play several formats of dcp. Previewing your work is a topic that will be fleshed out in a future article. Using a tool like this isn’t the same as trying out the DCP on the exact models of server and projector that is used in the festival, but it is an advisable start. In one of the videos, James shows a high frame rate 3D DCP playing through a portable computer.

This digitAll software is a Windows application, so it plays natively on a Windows PC, or on a speedy Mac with a virtual partition. (Either the free Apple Bootcamp, or VirtualBox from Sun (now Oracle), or systems from VMWare or Parallels (each about $79.)

One thing that James doesn’t bring up is the interface between bluray (and other consumer format) audio, which is different than most cinema theater set-ups, in many ways. Consider buying or renting the Gefen Inc EXT AVCINEMAAD A/V Cinema Scaler. You may think, “I don’t need a scaler.” In reality, if you are screening many different types of inputs, you probably will need a scaler. But the audio transitions between different consumer and professional deliverables are the real difficulty in interfacing. (James points out that those cinemas with a Dolby 750 Audio Processor will have the required audio interchange capability already. It should also be pointed out that Christie’s new SKA-3D is the latest iteration of Gefen’s everything to everything box. But we digress.)

On with the show(s):

Film Festival Deliverables: Part 1 Media

Film Festival Deliverables: Part 2 – On the Cheap

Fim Festival Devliverables: Part 3 – Film Producer

Film Festival Deliverables: Part 4 – Festival Producer

The presentation can also be found in PDF format at:

http://www.d-cine.net/cinetechgeek/FilmFestivalDeliverables.pdf

File Festival Deliverables

Only a few years ago there were no festivals which offered to take DCPs (Digital Cinema Packages) as a regular item, then the big ones made the effort by making the DCPs from digital masters. Two years ago it was confusing and still uncommon for a DCP to be accepted, but rules were being set out and tested. This year it would be uncommon for a festival not to have a procedure for accepting a DCP.

But it is still a complicated process, for a lot of obvious and a lot of obscure reasons. The first question always seems to be, “Can’t I just deliver a QuickTime file? DCPs are soooo expensive.” The answer is: Yes you can. You can deliver something on tape as well, or an 8 bit DVD or 10 bit Blu Ray. (Oops! There is no 10 bit Blu Ray!!! only 8 bit.) You can introduce yourself in a suit that has been in mothballs for 10 years as well and give away 5 day old pre-buttered popcorn with your festival submission. But you don’t want to. The difference in quality between those and a correctly made DCP will be too striking, doing an injustice to your great plot and characters.

This will be the first in a series of festival information articles, and we start with a good package of data from Cine Tech Geek in the form of YouTube videos.

One last note before CineTech Geek’s great videos: DCinemaTraining.com would like to accept any materials to make a Film Festival Course. If you have interest in contributing, please write the editor of dcinematraining


James at CineTech Geek has been working as an integrator for cinemas in Australia, and also as a manufacturer and software engineer. His various websites are:

Company Site: DigitAll: http://www.digitall.net.au

YouTube – http://www.youtube.com/cinetechgeek

Personal Tech Blog – http://www.crafted.com.au/blog/

The clips begin with an ad for the digitAll dcpPlayer Version 2. If you are interested in DCPs, you should be interested in spending a mere $250 for a program that will allow you to play several formats of dcp. Previewing your work is a topic that will be fleshed out in a future article. Using a tool like this isn’t the same as trying out the DCP on the exact models of server and projector that is used in the festival, but it is an advisable start. In one of the videos, James shows a high frame rate 3D DCP playing through a portable computer.

This digitAll software is a Windows application, so it plays natively on a Windows PC, or on a speedy Mac with a virtual partition. (Either the free Apple Bootcamp, or VirtualBox from Sun (now Oracle), or systems from VMWare or Parallels (each about $79.)

One thing that James doesn’t bring up is the interface between bluray (and other consumer format) audio, which is different than most cinema theater set-ups, in many ways. Consider buying or renting the Gefen Inc EXT AVCINEMAAD A/V Cinema Scaler. You may think, “I don’t need a scaler.” In reality, if you are screening many different types of inputs, you probably will need a scaler. But the audio transitions between different consumer and professional deliverables are the real difficulty in interfacing. (James points out that those cinemas with a Dolby 750 Audio Processor will have the required audio interchange capability already. It should also be pointed out that Christie’s new SKA-3D is the latest iteration of Gefen’s everything to everything box. But we digress.)

On with the show(s):

Film Festival Deliverables: Part 1 Media

Film Festival Deliverables: Part 2 – On the Cheap

Fim Festival Devliverables: Part 3 – Film Producer

Film Festival Deliverables: Part 4 – Festival Producer

The presentation can also be found in PDF format at:

http://www.d-cine.net/cinetechgeek/FilmFestivalDeliverables.pdf

Interesting MIST – DCI Mastering at NAB

 

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

Marquise Technologies announced today the new powerful DCI mastering features available for the DI deck M I S T.

The DCI mastering in M I S T is an option providing a tool-set of functionalities for mastering and encoding a DCP in real-time. The assembling of the elements needed for the package and their control are done naturally in the Time Line of M I S T, giving the ability to control the process at any time. Whatever the digital source master is made of, no need to pre-transcode, as M I S T works natively with all major formats, including DPX, TIFF, Apple ProRes, QuickTime, Sony XDCAM or H264 from DSLRs like Canon 5D, independently of resolution or frame rate.

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

MIST Promo pictureM I S T DCI Mastering option is not only encoding a compliant DCP in SMPTE or JPEG Interop, but also much more. It allows an immediate visualization of the master on a DCI projector, regardless of format or color space, permitting the color integrity control in theater mode.

The editing, afterthoughts or modifications of the master are always possible, through the management of all DCP assets (video, audio, subtitles) in a traditional timeline. The subtitles are fully supported, with the ability to read and edit them, leaving the choice of either export them in the DC package, or to burn them in the image.

The final encoding of the DCP is done with all precautions, for ensuring the integrity of the deliverables and their internationalization, through the aid of DCP’s name creation tool and the support of facility code tables. Encoding is real-time in 2K, and also available for 4K, accelerated by a JPEG2000 encoder board.

Flexibility remains with the manipulation of DCPs: the same hardware allows a real-time playback of the DCP. The versioning and repackaging of the files are managed like any other projects, including the MXF Interop (or MPEG Interop) support for new standard changes.

“M I S T allowing the export and output to any media and format, the DCP support was a natural step. M I S T is now the most comprehensive tool on the market, from the acquisition and processing of dailies, to the media conforming and finally the broadcast and DCI mastering.” says Laurence Stoll, CEO at Marquise Technologies.

The DCP encryption features and KDM management tools will be available in Quarter 3, 2012.

See M I S T DCI Mastering in action at NAB 2012

Marquise Technologies’ booth SL 9109 (South Hall – Post-Production)

Interesting MIST – DCI Mastering at NAB

 

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

Marquise Technologies announced today the new powerful DCI mastering features available for the DI deck M I S T.

The DCI mastering in M I S T is an option providing a tool-set of functionalities for mastering and encoding a DCP in real-time. The assembling of the elements needed for the package and their control are done naturally in the Time Line of M I S T, giving the ability to control the process at any time. Whatever the digital source master is made of, no need to pre-transcode, as M I S T works natively with all major formats, including DPX, TIFF, Apple ProRes, QuickTime, Sony XDCAM or H264 from DSLRs like Canon 5D, independently of resolution or frame rate.

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

MIST Promo pictureM I S T DCI Mastering option is not only encoding a compliant DCP in SMPTE or JPEG Interop, but also much more. It allows an immediate visualization of the master on a DCI projector, regardless of format or color space, permitting the color integrity control in theater mode.

The editing, afterthoughts or modifications of the master are always possible, through the management of all DCP assets (video, audio, subtitles) in a traditional timeline. The subtitles are fully supported, with the ability to read and edit them, leaving the choice of either export them in the DC package, or to burn them in the image.

The final encoding of the DCP is done with all precautions, for ensuring the integrity of the deliverables and their internationalization, through the aid of DCP’s name creation tool and the support of facility code tables. Encoding is real-time in 2K, and also available for 4K, accelerated by a JPEG2000 encoder board.

Flexibility remains with the manipulation of DCPs: the same hardware allows a real-time playback of the DCP. The versioning and repackaging of the files are managed like any other projects, including the MXF Interop (or MPEG Interop) support for new standard changes.

“M I S T allowing the export and output to any media and format, the DCP support was a natural step. M I S T is now the most comprehensive tool on the market, from the acquisition and processing of dailies, to the media conforming and finally the broadcast and DCI mastering.” says Laurence Stoll, CEO at Marquise Technologies.

The DCP encryption features and KDM management tools will be available in Quarter 3, 2012.

See M I S T DCI Mastering in action at NAB 2012

Marquise Technologies’ booth SL 9109 (South Hall – Post-Production)

Final Cut Pro X Gets Multi-Camera and Monitor

This morning Apple announced Final Cut Pro X v10.0.3, an update that should close the gap on key features previously found in FCP7 but still missing in FCPX, notably multicam editing and video out support for broadcast video monitoring, both promised last September. The update went live in the Mac App Store this morning at 8:30 am ET/5:30 am PT. It is free to existing users and remains a $299.99 download for new users.

Apple’s reimagining of multicam features automatic sync and can handle up to 64 different camera angles of varying formats, resolutions and frame rates at once. Other new features in 10.0.3, which follows a small bug fix last November, include a chroma keyer with advanced controls, the ability to manually relink projects and events to new media, and support for layered Photoshop files. Apple has also improved the functionality in FCPX’s new version of XML, paving the way for several simultaneous third-party device, App and plug-in releases that take advantage of the NLE’s new architecture.


For pictures and arrows and slings of outrageous fortune, and the reason for happy days for AJA and Blackmagic and Matrox:

 

Apple – Final Cut Pro X – A revolution in creative editing.

Apple – Final Cut Pro X – Trial

Final Cut Pro X Gets Multi-Camera and Monitor

This morning Apple announced Final Cut Pro X v10.0.3, an update that should close the gap on key features previously found in FCP7 but still missing in FCPX, notably multicam editing and video out support for broadcast video monitoring, both promised last September. The update went live in the Mac App Store this morning at 8:30 am ET/5:30 am PT. It is free to existing users and remains a $299.99 download for new users.

Apple’s reimagining of multicam features automatic sync and can handle up to 64 different camera angles of varying formats, resolutions and frame rates at once. Other new features in 10.0.3, which follows a small bug fix last November, include a chroma keyer with advanced controls, the ability to manually relink projects and events to new media, and support for layered Photoshop files. Apple has also improved the functionality in FCPX’s new version of XML, paving the way for several simultaneous third-party device, App and plug-in releases that take advantage of the NLE’s new architecture.


For pictures and arrows and slings of outrageous fortune, and the reason for happy days for AJA and Blackmagic and Matrox:

 

Apple – Final Cut Pro X – A revolution in creative editing.

Apple – Final Cut Pro X – Trial