PANELLISTS
14
April August 2012 2015
Colour correction video production
Firmware upgrades for JVC ’ s ProHD camcorders
JVC Professional Video has announced the availability of firmware upgrades for its ProHD streaming camcorders . Among other improvements , version 4.0 for the GY- HM650 and version 2.0 for GY-GM850 and GY-GM890 models feature adaptive bitrate technology for more reliable streaming , a high-quality 12Mbps mode , and support for Real Time Messaging Protocol ( RTMP ), which allows a direct connection to a number of CDNs for live streaming . Edgar Shane , general manager of engineering , JVC Professional Video , said : “ Stations that have been successfully using our built-in HD streaming technology are reporting even more reliability in the field with this firmware upgrade . Adaptive bitrate technology substantially improves our unbonded cellular transmission .
Rotolight inks distribution deal in Australia
Rotolight has signed a new sole-distribution deal with C . R . Kennedy , one of Australia ’ s largest independent importer and distributor of photographic equipment . Barry Grubb , Rotolight ’ international sales manager , said : “ To give Rotolight a home in Australia is a strategic step and pivotal to the growth of Rotolight . The LED lighting revolution is a converging market , creating a synergy with stills and video producers . C . R . Kennedy reflects the Rotolight philosophy and have the network reach , reputation and experience to successfully market Rotolight ’ s innovative products .”
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Tan Yee Tiang
Vice-President Technology & Operations Disney Television Group
Amitabh Kumar
Director , Corporate Zee Network
Colour correction is merely one step of the entire filmmaking process , but the difference it makes can be overwhelming . Kamarul Arifin A H discovers more …
Colour is fundamental in design and visual storytelling , as it conveys meaning beyond what we see on screen . Traditionally , artists use it to set the mood for their work , the tone of their voice , as well as to carry a theme in their craft . In the world of video , colour grading is an art form of its own .
While many see colour correction as a simple way to fix problems with the original footage , there is undoubtedly a lot more to it than that — colour correction can work wonders on any project . From broadcast shows and independent movies to DVDs and streaming videos , colour correction is the perfect technique to give new meaning to certain scenes and make the final video cut look outstanding .
Adopting colour correction is one of the necessary steps in post-production sessions that can make such a difference in the final results , taking the production to a whole new level .
For that same reason , Wolfgang Lempp , co-founder of FilmLight , finds it surprising that colour correction is not exploited more extensively in content production , given that the technique is the “ most effective and economical ” way to boost production value .
Lempp tells APB : “ This is why we have put a lot of effort not only into better colour correction tools , but into an efficient end-to-end pipeline that helps communicate the vision of a director
Blackmagic ’ s DaVinci Resolve supports all RAW camera codecs , as well as an extensive range regular codecs natively , and at all resolutions . or DoP . Today , it isn ’ t really about colour correction anymore , which is a term from telecine , but about creative colour . It is amazing how well that works in the hands of a talented colourist .”
A Blackmagic spokesperson aptly describes colour correction as a balance between art , workflow and time .
“ The colourist is an artist , reviewing the source images and implementing the creative intent of the director / client . They need to understand the different workflows for each camera and format to extract the best image possible from the available source , and they need to balance their time on one shot and how to bring the grade from that to the other shots in the project ,” he tells APB .
The biggest misunderstanding people have about colour correction , he adds , is that it takes too long for that extra step .
He explains : “ The colourist is creating the look and they bring value to the final project , just like the director and the DoP . Think of colour correction as a creative process and your perception of its value changes immediately . If it ’ s not graded , it ’ s not presented in the best way it could be .”
Damon Hawkins , product manager at Quantel , agrees . He reiterates : “ Colour correction can ’ t stand on its own — it ’ s just a part , albeit an important one , of the whole finishing process . When you ’ re working with a DoP or director , he or she will inevitably make changes beyond just colour — editorial , reframing a shot , sky replacement , removing a microphone from a shot ; there are always other things to be done during colour sessions .”
And in terms of its colour-correction capabilities , Quantel is offering the Pablo Rio , providing users with real-time 4K 60p 16-bit colour-correction performance , as well as instant full-resolution review of changes all the way up to 8K .
Pablo Rio is a 64-bit application running on high-performance PC hardware that exploits NVIDIA Maximus multi-GPU technology to deliver enhanced interactivity . Client-attended sessions take full advantage of Pablo Rio ’ s performance and its toolset to deliver better results on time , and without compromise .
In addition , another capability offered by Pablo Rio is Genetic
FilmLight ’ s Wolfgang Lempp : “ Today , it isn ’ t really about colour correction anymore , which is a term from telecine , but about creative colour .”
Engineering 2 , which allows up to eight Pablo Rio systems to work on a single piece of media simultaneously — without needing to copy the media .
This means a GE2- equipped facility can take on ultra-short deadline jobs and work on them efficiently , using up to eight Pablo Rio systems in a collaborative workflow , Hawkins explains .
He continues : “ Quantel makes quarterly software releases to ensure that our customers can keep up with all the latest formats — the new ARRI SDK for Alexa Amira is one example . We also demo-ed Pablo Rio handling the new RED Weapon 8K format at Cine Gear Expo in Los Angeles last month . We have also begun selling Pablo Rio 8K systems already , with the first two systems up and running with customers in Japan .”
Blackmagic , on the other hand , is tackling colour-correction workflow challenges in the form of the DaVinci Resolve 12 .
The DaVinci Resolve supports all RAW camera codecs , as well as an extensive range of regular codecs natively , and at all resolutions . Resolve is able to automatically decode the image in real time into the full 32-bit floating-point precision that is used for all image processing .
According to Blackmagic , the DaVinci Resolve offers unlimited versions for every clip and automatically applies the same grades to any number of edit versions . In addition , the DaVinci Resolve operates on single-processor laptops , multiple-processor desktops and 8-GPU server systems . Users can also expand their processing power by adding more GPUs .
The Blackmagic spokesperson adds : “ Blackmagic Design offers a complete range of 4K Ultra HD ( UHD ) products for live and post production , and DaVinci Resolve is no exception . With the right hardware configuration , 4K UHD workflows are easily handled by Resolve in real time with no additional time added to the post workflow . All 4K UHD formats are supported by Resolve .”
FilmLight , however , remains unfazed by the proliferation of formats . Lempp elaborates : “ Our background is in film , and a proliferation of formats has been an essential part of the film