CALIBRATE NOW
Why your monitor needs you
March 2017
DATAGEDDON
Unprecedented data rise
AIR PORTS
Wireless camera systems
100 YEARS OF ARRI Munich looks forward
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NEWS ARRI 100 YEARS
THE HISTORY BOYS 2017 marks 100 years since August Arnold and Robert Richter rented a small former shoemaker’s store in Munich and set up shop as a film technology firm INTERVIEW JULIAN MITCHELL
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ARRI 100 YEARS NEWS
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THERE ARE MORE CAMERA MANUFACTURERS THAN EVER BEFORE AND CAMERAS ARE CHEAPER
Julian Mitchell: 100 years of ARRI, how are you celebrating this year? What does this milestone mean to ARRI? Dr. Jörg Pohlman: We are marking our centenary with celebratory events and materials focused primarily on September, the actual month of the birthday. We’re very proud of our history and look forward to sharing some wonderful stories and content later this year – put together with the help of many of our friends across the worldwide film industry. Even more exciting than our past is where we are as a company in 2017, and the values and vision we carry into the future. ARRI was founded by two passionate, film-obsessed teenagers; that same energy and exuberance still defines the company today. We’re 100 years old, young at heart and looking ahead to even greater things. Julian Mitchell: You have successfully turned from a film camera company into a digital film camera company; what is your next big conversion or challenge and what have you learned from the successful transition? Franz Kraus: The conversion from analogue to digital taught us that the diversity of our product range and – more importantly – the engineering skills acquired during our DI developments helped us adapt to a shifting technology landscape, since it was our work with the ARRISCAN that paved the way for ALEXA. It also taught us that our most valuable assets are the level of trust in our brand, the extraordinary talent of our employees and our very close relationships with filmmakers. A sea change like the analogue-digital shift doesn’t come along very often – now it is more about timely, incremental
responses to the ever-changing needs of filmmakers and making sure that our offerings are of genuine benefit in terms of creativity, production value and workflow efficiency. Julian Mitchell: What are the biggest challenges for a camera manufacturer in the 21st century? Being consistent in your designs? Keeping the customers happy? Dr. Jörg Pohlman: For us, challenges include not only focusing on the best overall image quality and true production benefits, but also communicating to the market exactly why we think our approach is the best approach. There are more camera manufacturers than ever before and cameras are cheaper than in the past – this results in a lot of marketing noise and a certain amount of hype about on-trend features that sound good but don’t tell the whole story and don’t necessarily bring real benefits. We have to stick to our fundamental principles and speak with a clear voice to the industry. Camera form factor is another challenge in the 21st century – do you offer an expandable box, or sophisticated ergonomics? There is a need for both, which is why we provide a range of cameras.
OPPOSITE PAGE
One of August Arnold and Robert Richter’s early projects; a rebuilt film projector. Photo: ARRI. ABOVE The Alexa 65 camera.
BELOW Arri’s
current executive board, Franz Kraus (left) and Dr Jörg Pohlman (right).
cinematic than it ever has been, so we’re seeing ALEXA and especially AMIRA – with its Multicam feature for live broadcasting – used as much for TV as for feature films. The emergence of streaming content services has not pushed image quality requirements down, as some feared. On the contrary, content providers are looking for ways to set their programs apart, so we can be confident in the future of high-end production. You mentioned Amazon; after extensive testing they chose ALEXA and AMIRA as their cameras of choice for UHD and HDR programming, which shows that they are serious about maximising overall image quality. As good as television is now, we also believe that seeing feature films on a big screen is still very special and the ALEXA 65 system provided by ARRI Rental is a response to that, making sure that going to a movie theatre feels like a different, more immersive experience. Julian Mitchell: Last year you bought the TRINITY camera stabiliser system, are you planning more acquisitions? What are your plans for TRINITY, are you working on a range of products? Franz Kraus: We always have an eye on exciting new innovators in the industry and on opportunities to form partnerships or to make acquisitions that will diversify our business or
Julian Mitchell: Does the huge increase in TV drama production from the likes of Amazon give you confidence for the future of highend production and therefore the future of your products? Are your cameras used more on TV than movies now? Franz Kraus: ARRI cameras have been used on television productions since the 1950s, so operating in both markets is not new to us. However, television today is better and more MARCH 2017 DEFINITIONMAGAZINE.COM
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SHOOT STORY ROGUE ONE
Rogue One is one of the fill-in Star Wars films but is now seen as one of the best. DOP Greig Fraser tells us how he used his inner ten-year-old to achieve a special look WORDS JULIAN MITCHELL PICTURES LUCASFILM / GREIG FRASER
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ROGUE ONE SHOOT STORY
f you haven’t seen Rogue One: A Star Wars Story, you’re in for a treat and this is from someone who isn’t normally a fan. This is the best Star Wars film I’ve seen and on a number of levels – especially the look. Technically the series has already been the centre of some brave and memorable decisions. George Lucas chose not to shoot film again before anyone had seen the prequels – the diehards weren’t pleased. His pursuit of a digital camera for the films arguably catapulted Sony to the forefront of digital cinematography at the time, but the jury is still out on the results of the digital capture. For Rogue One, DOP Greig Fraser pushed the envelope again and chose a camera that was brand new and thought by everyone, including the manufacturer initially, to be a plate camera or if you were really lucky, a second-unit tool. But the ALEXA 65’s a camera with a sensor that’s bigger
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than a 5-perf 65mm film frame. A Star Wars gig doesn’t come around very often and Greig wanted to do it justice. “Why can’t we use this camera for the whole thing?” he asked the powers that be in his Aussie free-thinking way. ALEXA 65 The camera was very new but Greig had already done some tests. “At the time I was doing two films, Lion and Rogue One. Lucasfilm know what they are doing well in advance and they have lots of time for development and preparation,” Greig says. “So back in late 2014, as The Force Awakens was wrapping up post-production, we had the good fortune to use some of their sets. The general consensus was that we were going to go film because that’s how the originals were shot. J J Abrams had just been very successful with it on the previous movie.
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FOOTBALL TV
its XT2 live production server to a new XT3 server in the ChannelMAX configuration with an LSM remote control panel. It installed these solutions in the TV galleries at Stamford Bridge as well as an IPDirector content management system and LSM Connect interface, which its in-house production crews use to create and manage all channel and in-stadium content. Having its own in-house production crew means Chelsea TV can produce more club-centric replays and highlights, delivering a more personal experience for fans than external crews would. Chelsea TV uses live feeds recorded from on-location OB facilities for all of its production operations and the EVS XT3 ChannelMAX live production server is used by the club to ingest these; this is a process that’s managed by IPDirector. The flexibility that’s built into EVS technology means Chelsea TV is then able to use its live tools in a number of ways – for the production of held-back match coverage, additional programming on the channel and for the in-stadium entertainment. FAST-TURNAROUND COVERAGE Once ingested by the XT3, IPDirector controls the feeds and makes them delayed match coverage that’s enriched with Chelsea’s own graphics and commentary. Clips of multiangle replays and highlights are also produced from these live feeds and used in Chelsea TV’s programming which includes post-match highlights, news segments and magazine shows. At the same time, when matches are played at Stamford Bridge, Chelsea TV needs to be able to deliver infotainment content to the two in-stadium big screens. This content is managed separately from the broadcast feeds and includes replays, highlights and promotional material. In order to continue to produce and deliver all this content in the highest quality, in a fast and efficient way, Chelsea TV wanted to upgrade its production workflow. And to drive this new infrastructure, it needed more storage, more channel density and more input/output flexibility than its existing EVS XT2 live production server provided.
available on Chelsea TV’s EditShare Ark nearline storage. Here it’s easily accessible to the channel’s production crew who add Chelsea TV’s own graphics and commentary. After a hold-back time agreed with broadcasters, Chelsea TV plays the match coverage out using its XT3 ChannelMAX server. With just a few hours to turn content around, having the industry’s fastest live production server and using IPDirector to control live feeds, means Chelsea TV has the infrastructure it needs to enable a fast turnaround of its match content in a high-speed scenario. ENRICHED ADDITIONAL PROGRAMMING EVS’ LSM is the industry-standard remote control panel that’s used with the XT series servers for live content editing. It’s used by Chelsea TV to create content for the additional programming broadcast on the Chelsea TV channel between matches. The LSM remote lets production crews create club-centric video clips and slow-motion replay content which they manage using the EVS LSM Connect interface. This also allows operators to quickly generate playlists of the clips created with the LSM
THE FLEXIBILITY THAT’S BUILT INTO EVS TECHNOLOGY MEANS CHELSEA TV IS THEN ABLE TO USE ITS LIVE TOOLS IN A NUMBER OF WAYS ABOVE AND RIGHT Chelsea TV’s studio Blues News set-up.
THE SOLUTION To manage all the functionality needed by the Chelsea TV production crews, the channel has upgraded DEFINITIONMAGAZINE.COM MARCH 2017
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GEAR GROUP CAMERA WIRELESS SYSTEMS
IN ASSOCIATION WITH
BSI REAL FREEDOM In this month’s Gear Group we are looking at the growth area of camera wireless systems. Started with RF technology but now predominantly using data services, these units offer anything from streaming live to on-set monitoring on the highest of high-end movies
ENCODERS FOR VR Wireless camera systems have come a long way so it’s only right and proper that the newest tech on the block gets an encoded wireless option. Amimon already has one (see their entry) and there is Teradek’s VR product, the Sphere. However there is a new entrant on the horizon, a Swedish company called Intinor. Working with TNP Broadcast they are developing a solution that will offer complete VR control with full 3D graphics live, with a bonded system. That stream can then be sent to all the major live VR platforms from Google all the way to private networks. Up to 16 cameras can be auto-stitched in real time and there’s a full graphics engine so you can place graphics in space. It’s effectively a full live production suite for VR in a flight case. They are looking to include cameras in the package but at the moment they want to use standard broadcast cameras and stitch them together automatically. Teradek’s Sphere is compatible with any HDMI or HD-SDI camera and is a 360° monitoring and streaming solution for fourcamera VR rigs. Its four USB ports offer an integrated power solution for GoPro rigs and its stereo analogue audio input allows you to
embed the output of your soundboard right into the live feed. A great feature of Sphere is that it doesn’t require a PC to stitch panoramic footage into a 360° format. Instead, the stitching engine is iOS-based and offers real-time compositing of up to eight 1080p camera feeds, allowing you and your crew to be more mobile. The Sphere iOS application offers parameters for tweaking your 360° footage. In addition to lens-correction options, you can adjust the image rotation and edge alignment of your stitch from the UI. Users can calibrate each camera’s whitebalance, tint, and colour profile. The Sphere also streams to any 360° compatible online video platform, including YouTube and Wowza at bit rates of up to 15Mbps.
It’s open for debate but the lack of an antenna on your camera’s wireless video system could encourage the use of a few more streamlined camera moves, however, up until now such a thing wasn’t possible. BSI UK, the European business of Broadcast Sports Inc., has called its new invention of an integrated antenna ‘groundbreaking’. That might be pushing it a little but the change in the design of the aptly named Real Freedom (RF) camera system is newsworthy. The system’s antenna is now fully integrated into the inside of the camera back unit, so there is now no external antenna protruding that would almost certainly get in the way whilst filming. This is a key upgrade that streamlines BSI’s system which already provides 1080p50 3G video output and integrated camera control. In truth, integrating the antenna inside the unit immediately changes the usability and artistic capability of the camera, and allows the operator far more freedom of movement. It enables some new sweeping and twisting shots, and means that the camera can even be fully rotated in operation. The Real Freedom system comprises a camera back transmitter, a receiver unit and up to eight downconverter receive antennae with integrated camera control data. The receiver’s GUI allows adjustment for the main system parameter’s including frequencies, 2GHz, 3GHz and 7GHz, DVB-T/T2 modulation and 1080p50 3G decoding ideal for 4K upscaling. At the receiver, a five-inch colour panel displays the video, and the GUI shows a connection map including audio peak meters and other key parameters, whilst the integrated camera control feature allows the OB to configure the data transmitters and fine-tune the image remotely.
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IN ASSOCIATION WITH
CAMERA WIRELESS SYSTEMS GEAR GROUP
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DEJERO LIVE+ ENGO
LIVEU LU600
TERADEK CUBE 655
Dejero’s LIVE+ EnGo transmitter uses its cloud-managed system for the transport of live video across IP networks. Cameramounted or wearable, EnGo is designed for newsgathering, sports coverage and live event broadcasting from remote locations, all while in motion. The unit seems ideal for broadcast journalists and news crews reporting from breaking news situations or live events from around the world. LIVE+ EnGo encodes IP video and bonds all available networks, including cellular, Wi-Fi, Ethernet and satellite, to deliver decent picture quality with low latency. With Dejero’s Intelligent Connection Management technology that adapts to network congestion in real-time, EnGo transports video across some challenging network conditions. Dejero’s latest updates concentrate on providing even greater connectivity options when travelling. The new userchangeable SIM module allows a field operator to quickly switch the SIMs in an EnGo so that it will match the local cellular network environment. Dejero’s carrier services offering has also been expanded to include global roaming packages while abroad, including SIM activation, data plans, streamlined billing and renowned 24/7 support. To simplify the management of LIVE+ EnGo transmitters around the world, Dejero’s LIVE+ Control cloud management system gives studio technicians the ability to geolocate, monitor performance and remotely control transmitters from a web browser. With the LIVE+ Control cloud management system the user can also preview incoming feeds and route both live and recorded content to on-air playout and online distribution workflows. The unit’s dimensions are 21.8x14.2x11.7cm and it weighs 2kg with internal battery.
LiveU was an early adopter of moving video over IP. It initially twinned with Panasonic for an on-camera solution but quickly moved to a more agnostic solution with their (rumoured) declassified Israeli Military bonding technology. Now the company’s boasting a global installed base of over 2000 Tier 1 media customers in more than 80 countries. Its newest portable transmission unit is the LU600, designed for global newsgathering and live sports and events coverage. It claims that the LU600 delivers the highest video quality and bit rate in the market (up to 20Mbps), and is set to offer the fastest file transfer (80Mbps), lowest delay (0.5 sec) and 100Mbps high-speed bonded Internet connection. Without a comparative test we can’t verify this. The LU600 has a new user interface, with a five-inch capacitive touchscreen. The unit’s ‘smart’ backpack has remote control access to the display, controls and the interfaces. Weighing around 1kg, the LU600 includes LiveU’s integral LiveU Reliable Transport (LRT) protocol for optimised video performance using the adaptive bit rate as well as forward error correction technology. LRT also enables low-delay live video streaming over non-guaranteed IP networks. Interestingly and a sign of the company’s early adopter status, LiveU owns the patent for cellular bonding used today for remote newsgathering in the US, Europe, China and other countries. All LiveU products are based on this sixthgeneration patented technology.
Teradek has evolved its wireless product choice hugely over the last few years and its buy-out by the Vitec Group wasn’t a total surprise. Under Vitec’s leadership the product line has increased even more, including introducing a new wireless solution for VR (see Encoders for VR). The company’s Cube line of H.264 codecs offers solutions for live streaming, iOS monitoring and point-to-point broadcasting for SDI and HDMI video sources. So in a nutshell, you get low resolution proxy recording, Facebook streaming Wi-Fi enabled and on-set monitoring using Teradek’s iPhone and iPad app. The Cube series encodes video at bit rates up to 15Mbps and when bandwidth is limited, adaptive bit rate allows you to automatically adjust and stream at the highest quality that is achievable. The Cube 655 can stream online over aggregated bandwidth from 2.4/5GHz 802.11ac Wi-Fi, Ethernet or 3G/4G/ LTE networks using a mobile hotspot, USB modem or your smartphone’s data connection. If you require additional bandwidth, the Cube 655 allows you to stream over multiple cellular network connections too. Connect your Cube to Teradek’s Sputnik server hosted on a Core account – which is the company’s cloud-based management service – and you can begin your broadcast with the streaming protocol of your choice. Even if you don’t have Ethernet or a cellular modem available, the Cube 655 can bond together up to four iPhone LTE connections using the free Teralink application for iOS. The Cube gets a hardened aluminum chassis and a Lemo power connector. Connections are HD-SDI, HDMI, composite and dual input models, and they include both a line out and mic input for external audio connections.
OTHER FEATURES: • 30 seconds boot-up time • High-efficiency internal patented antennae • 16GB internal storage and support for external micro SDXC 256GB cards • LTE advanced support.
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GEAR GROUP CAMERA WIRELESS SYSTEMS
PARALINX TOMAHAWK2 What do you really need from a generation-two on-camera wireless device? It would help if it was smaller, lighter and tougher. Well, what do you know, the new Paralinx Tomahawk2 is all those things as well as remaining the same long-range HD video system that offers you real-time wireless HD transmission for your television, film, broadcast, industrial and UAV/UAS application. It’s a video receiver and transmitter combo with a wide input voltage range of 6-28V, a dual input transmitter (HD-SDI and HDMI) and is lighter and 60% smaller than the first-generation Tomahawk1 so has a great small form factor. The Tomahawk2 is also compatible with the Teradek Bolt 2000, Sidekick 1 or Paralinx Tomahawk1. Tomahawk2 claims a range of up to 2000 feet and maintains a less than one millisecond latency glass-to-glass. The Tomahawk2 system features both 3G-SDI input (with loop-out) and HDMI input on the transmitter and a 3G-SDI output on the receiver. It transmits full-HD video (up to 1080p/60 4:2:2) and is capable of sending video to up to four receivers simultaneously. The transmitter weighs approximately 208g and the receiver weighs only 252g (both weights are without antennae). The Paralinx Tomahawk2 system is available in the USA for $7499.95 for one transmitter and receiver pair. Battery plates, antennae, mounting brackets, power cables and custom cases are all available as accessories to help customise your set-up. OTHER FEATURES: • 128-bit AES Encryption – secure transmission • Operates on 5GHz frequency band • Conforms to major technical and environmental standards.
IN ASSOCIATION WITH
VISLINK ULTRALITE 4K
AMIMON CONNEX CAMERA AND DRONE
When you hear that a camera wireless system can achieve 4K, you wonder about the quality. That’s a lot of data flying through the air, but I suppose if anyone is going to do it, it’s Vislink. The UltraLite 4K uses HEVC encoding to achieve 4K UHD wireless live video – a claimed world’s first. The UltraLite is a lightweight ‘module’ that can be attached to any existing wireless camera system enabling live transmission of UHD. Vislink mentions cameras like Sony’s F55. Vislink also makes the HEROCast which is a specially made transmitter for the GoPro Hero cameras. It’s small enough to be worn or mounted in unusual and formerly inaccessible locations so great for the GoPro crowd whose mantra is to always find new angles for online audiences watching their favourite live sports and events. The HEROCast comes in two forms: HEROCast connects with a HERO camera by means of secured HDMI cable and offers maximum customisable mounting options; HEROCast BacPac mounts directly to the back of the HERO camera, allowing the standard GoPro housings and mounting accessories to be used as well. Both provide high-quality live HD video and with the latest software release they support industry-standard DVB-T and Vislink’s LMS-T modulation for maximum compatibility with Vislink and other vendors’ receivers. The Vislink ViewBack is a lightweight, low-power, low-latency, dual channel diversity receiver-decoder intended primarily to provide reception of return studio video transmission back to the camera operator. It’s ideal for use on Steadicams and operates in the 2GHz licensed band, the receiver supports Vislink demodulation in addition to lowlatency H.264 decoding.
Amimon’s CONNEX wireless technology seems to be the front runner at the moment in the ground-to-air sector for drones and they shout loudly about their zero latency. First there was CONNEX and now there is CONNEX Mini. Amimon also produces on-camera and on-ground devices but it is the UAV world where the most growth is and therefore the most publicity for their tech. The company has also just launched a new drone, the Falcore, which was created for the drone racing world. Unsurprisingly, the wireless performance is solid with their embedded ProSight HD Vision system. CONNEX employs Amimon’s HD video technology which is highly regarded in the UAV circles and may be near industry standard in the broadcast and cinematography markets (the word is that Vislink is the better quality but more expensive). Its 5GHz radio, 2x5 MIMO and automatic channel selection ensures consistent connectivity, virtually free from interference, specifically from UAV controls and neighbouring 2.4GHz links. Main features include 1080p at 60 frames-per-second, a range of up to 1000m, the ability to multicast up to four ground receivers, automatic and manual frequency selection and Android and Windows based management App. Amimon also offers a VR/AR solution comprised of a wireless video transmitter module and a wireless video receiver module. This pair of wireless modules allows vendors to integrate them into a complete add-on product, offering their customers a real, high-quality wireless VR experience. You’ll get UHD quality with no latency that is unhindered by body movements or obstacles, so improving your experience.
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USER REVIEW
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BEACHTEK DXA-ALEXA If you shoot with the highly successful ARRI ALEXA Mini camera you’re probably used to a sound person sorting out your audio, but now there’s a DIY option WORDS JULIAN MITCHELL
hen the ALEXA Mini was launched it was a replacement for the ‘M’ which initially answered the need for a smaller camera for getting better interocular in 3D productions. The Mini, however, had its sight on wider usage, especially as 3D productions were reduced to a trickle. With the Mini you got a beautifully engineered small version of the normal-sized ALEXA. The same sensor, frame rates and video outputs but for audio I/O the limited space inside the camera meant a scratch audio track only. There was room for the audio codec but no amplifier, phantom power or even audio output. At the start of the Mini’s life this omission wasn’t much of a problem as users delighted in having the full-grown ALEXA’s beautiful look in a small package. Dronies loved it as did documentary shooters and, increasingly, drama DOPs. But the
size also interested the self-shooter until they realised the drawback of the limited audio abilities. BEACHTEK Enter the third-party after-market products like Sound Devices’ MixPre-D and monitoring solutions from SmallHD – but also the Beachtek DXA-ALEXA which is more of a custom-made solution. The basic specs are two transformer-balanced XLR inputs with phantom power and a 40 or 60dB gain stage along with headphone monitoring. The oblongish unit is around 5x4x2in (we’ve rounded up for simplicity), made of carbon fibre like the Mini with balanced XLR inputs on one side, power on/off on the other and notched channel 1 and 2 trim control knobs on top. On the bottom you have three threads for attaching to the bracket that comes with the unit or for direct attachment to your rig or Mini cage.
You have other controls about the unit including headphone control, line out, mic out and RTN. The design has been tweaked to match the Mini but is also beautifully resolved with a classy feel to it and it’s only 374g. The toggle switches are on the small side but are water resistant to encourage you to rig it on your rails or mount it around the camera for quick access. As the popularity of the ALEXA Mini increases into wider shooting scenarios the Beachtek preamplifier offers a solid and professional audio recording option. Beachtek has a smaller device that has one XLR input plus three mini-jack inputs for 3.5mm mics such as the RØDE VideoMic or wireless systems. This is the DXAMICRO PRO. It only provides 30dB of gain but you can increase the camera gain to compensate. The DXA-ALEXA is available from CVP for £599 but doesn’t come with any cables so budget for those.
BEAUTIFULLY RESOLVED WITH A CLASSY FEEL TO IT
IMAGES The BeachTek DXAALEXA’s carbon fibre apes the camera it’s bound for.
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CALIBRATION MONITORS
YOUR MONITOR NEEDS YOU With off-site production on the increase there’s never been a better time to calibrate your monitor; here’s why and how to do it WORDS STEVE SHAW he recent explosion of relatively cheap displays, both within the professional and the consumer markets, has enabled a lot of users to purchase displays that just a few years ago would have been completely out of reach. As a result, there are now a plethora of displays available that are promoted as being of professional image quality, as well as consumer displays that promote technical specifications that make them appear to be suitable for professional applications.
However, the problem with many of the newly available displays is they are really made to a pricepoint, rather than made to be as professional as possible. As a consequence they do not meet the previously very stringent requirements for professional colour critical display. Compounding this price point approach to manufacturing is the range of different screen technologies that are now used for image display: LCD, LED, plasma, OLED, Quantum-dot, FED, projection, etc. This is combined
INTERNAL FACTORY CALIBRATION LEAVE A LOT TO BE DESIRED
with an even greater range of backlight/illumination technologies, such as White LED, RGB LED, CCFL, EEFL, RG Phosphor, GB-LED, and more for displays, and UHP, Xenon, LED, laser, LED-Laser hybrid, etc, for projection. Combined with the low cost of access to colour creative systems, such as for colour grading, there is now a worrying likelihood that any given display that is being used for colour critical decision making is not at all as accurate as it should be.
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MONITORS CALIBRATION
The final issue with respect to display calibration is the often limited internal colour processing capabilities provided within any given display, which can severely limit the actual calibration a display can attain. Such displays more often lack any internal 3D LUT capability, or restrict user access to any factory installed LUT, and without the addition of external calibration hardware, like an external LUT box, will never calibrate accurately. All these variations mean that often no two displays show the same colour and gamma out of the box, often with clipping highlight, and/or clipping or lifted blacks to compound the problem further. If you are considering using a consumer display for professional colour critical work things can be even worse, as there are now a number of marketing approaches being taken by consumer display manufacturers aimed at selling colour accuracy to home users, including using the professional industry names, such as Technicolor, to define a display as being ‘Colour Certified’. Such displays cannot be considered as being in any way accurate, as the specification criteria is nowhere close to professional needs, with the Technicolor ‘Colour Certification’ regarding a less than seven Delta E as acceptable, which is not even close to the JND (Just Noticeable Difference) threshold of 2.3. (Delta E is a metric for understanding how the human eye perceives colour difference). Why would a respected company such as Technicolor allow its name to be used in this way? SO WHY CALIBRATE? The real requirement for display calibration is actually very obvious; without it you will never be seeing images as the production team,
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IF YOU ARE CONSIDERING USING A CONSUMER DISPLAY FOR PROFESSIONAL COLOUR CRITICAL WORK, THINGS CAN BE EVEN WORSE ABOVE Flanders Scientific’s BoxIO LUT box.
BELOW The only monitor that Amazon allow for their HDR grading, the Sony BVM-X300.
specifically the DOP, intends. This is true for displays both used within film and TV post-production, as well as for the home consumer. Accurate display calibration is required so that the viewed images match as closely as possible the colour standards expected by the images being viewed, as such video standards define how an image should look on any given screen when accurately matched to the given standard – Rec.709, P3, Rec.2020 for example. Unfortunately, this need to calibrate can be the case with professional displays, as well as lowerend consumer ones. Often internal factory calibration leaves a lot to be desired, especially as modern display technologies are prone to drift through aging and temperature changes, meaning display recalibration becomes a regular necessity – for true colour critical applications as often as every month. Without accurate display calibration there are no guarantees. FOR IMAGE MASTERING ‘Colour management doesn’t mean squat if your audience are on cell
phones and uncalibrated home PC screens and TVs’ – This is a fairly common comment regarding display calibration when performing grading or mastering. Unfortunately, it is this lack of forward-thinking that causes a number of major problems with later viewing of material on any display – accurately calibrated or not. If you do not care about accuracy during the image generation, the results will always be bad – on any display, regardless how well it is calibrated or not. Two wrongs can never make a right, while a right and a wrong will always lessen the final wrong. For example, if your grading display is crushing blacks and is too blue, it will cause you, the colourist, to lift the blacks to overcome the crushing, and make the image too warm to counter the inherent coolness of the blue display. So when the graded images are viewed on a correctly calibrated display, the result will show the inaccurate grading, while things will get much worse if the final viewing display has lifted blacks and is too warm, as the images will show grey blacks with washed-out detail in the MARCH 2017 DEFINITIONMAGAZINE.COM
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CALIBRATION MONITORS
shadows and a very inaccurate colour temperature. When mastering, if you always work on a well-calibrated display, the worst any final error can ever be is just that of the uncalibrated viewing display. And as the viewer is used to seeing images on that display – most of which will have been generated on reasonably calibrated displays – they will be able to judge by reference the quality of your images – a direct comparison with what they are used to seeing. If you have graded on a poorly calibrated display their relative judgement on their still uncalibrated display will define your images as being even more inferior. That is the definition of a poor workman, with a poor workflow, and it is something that all professionals should always strive to avoid. A ‘relative’ comparison is just as valid as a definitive comparison, as it will always show the original material to be inferior, if graded on an inaccurately calibrated display. As before, without accurate display calibration there really aren’t any guarantees. VERIFY AND CALIBRATE Understanding that calibration really is a necessity, not an option, what’s required? How can any display be verified for accuracy, and recalibrated as needed? With modern display technologies it is imperative that a suitable probe is used to verify all aspects of display calibration, connected to a suitable high-end, professional calibration system such as LightSpace CMS. The choice of probes is a large one, with something like the X-Rite i1 Display Pro being at the lower-
end of the market (and in reality the cheapest suitable Tristimulus probe). The likes of the Klein K10-A and Colorimetry Research CR-100 are the most affordable high-accuracy Tristimulus probes, and with the ability to combine such Tristimulus probes with spectrophotometers/ spectroradiometers, such as the CR250 and Jeti 1511, to increase accuracy on any given display, there really is no excuse for poor display calibration. With a suitable probe and the free LightSpace CMS calibration system installed on a laptop, the first step is to profile (measure) the display to assess its present calibration status. With LightSpace CMS this is simple to perform using the system’s Quick Profiling capabilities and will help define the areas of manual display control that need particular focus, in a matter of seconds. After a quick profile has been performed a report will be generated showing the display’s actual parameters, such as black level, peak white level, contract ratio, white point and grey scale colour temperature, gamut coverage, gamma accuracy, etc., compared with any desired colour space target, such as Rec.709, P3, Rec.2020, ST2084, HLG, etc. From this report it is very simple to assess the display’s accuracy or inaccuracy, and define the next steps to be taken. For example, if the display shows a gamut that is smaller than the colour space target, the display may not actually be able to be calibrated, depending on the native gamut capabilities of the display. If this proves to be the case, the display must be considered not fit for purpose, and needs to be replaced. Depending on the display’s built-in
colour management system (CMS) capabilities it may be possible to adjust any inaccuracies to an acceptable level, if the display is not being used for true colour critical applications, such as QC review or within a transmission room, etc. To perform such adjustments, the probe and LightSpace CMS are again used, this time in manual calibration mode, where specific levels and colours are individually continuously measured, with the measured values being displayed live on the LightSpace CMS GUI, while the display’s manual controls are adjusted until the measured values match the target colour space. The issue with such manual display adjustment is few displays, if any, can actually be calibrated accurately enough for professional colour critical applications this way, due to limitations with the display’s internal signal processing electronics, and relative nonlinearity of the display’s screen (glass), resulting in volumetric colour errors, such as cross-colour coupling and gamut irregularities, that cannot be ironed out through simple linear manual display adjustment.
THAT IS THE DEFINITION OF A POOR WORKMAN
ABOVE Klein’s K10-A high accuracy Tristimulus probe. Below is the CR-100 probe from Colormetry Research.
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4K CAMERA LISTINGS
IN ASSOCIATION WITH
DEFINITION’S 4K CAMERA LISTING As the professional video world moves towards 4K production and UHD broadcast we have the camera reference listing you need
At the pinnacle of the new Alexa SXT range is the Plus, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colours. SPECIFICATION
ARRI ALEXA SXT PLUS 200FPS
14 STOPS
PL MOUNT
2880x1620
SILENCE – BEST CINEMATOGRAPHY
DOP Rodrigo Prieto used an ARRICAM LT film camera for daylight and an ALEXA Studio for low-light work including candle-lit interiors and night exteriors.
SxS
SENSOR – FORMAT AND SIZE
16:9 or 4:3 sensor mode. 4:3 output only available for ARRIRAW and ProRes 2K recording
FRAME RATES
At 16:9 – 0.75–120fps/60fps max when recording 2K ProRes/speeds adjustable with 1/1000fps precision
LATITUDE (STOPS)
14
LENS MOUNT
PL
DIGITAL SAMPLING
2880x2160 uncompressed ARRIRAW
RECORDED BIT DEPTH FORMAT AND TIME
Dual 14-bit A/Ds, with 16-bit processing, 12-bit ALEXA ARRIRAW, 10-bit HD SDI logC/Rec.709, SxS ProRes/SxS DNxHD/SXR CAPTURE DRIVES
WEIGHT (KG)
6.9
LION – BEST CINEMATOGRAPHY
While DOP Greig Fraser planned for Rogue One: A Star Wars Story with the ALEXA 65 camera he was also shooting Lion with the Alexa XT.
ARRIVAL – BEST CINEMATOGRAPHY
DOP Bradford Yound shot only on ALEXAs with XT, M and XT Plus cameras using vintage glass and Zeiss Super Speeds.
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IN ASSOCIATION WITH
ARRI ALEXA CLASSIC EV 120FPS
14 STOPS
PL MOUNT
2880x1620
SxS
Even with the new SXT models coming on stream this year, you can still buy or rent this model with the original great performing sensor.
SPECIFICATION
ARRI ALEXA SXT EV 120FPS
14 STOPS
PL MOUNT
2880x2160
SxS/SXR
The new range of ALEXAs gets the sensor from ALEXA, the electronics from the A65 and the colour management from AMIRA. In-camera rec is ProRes 4K UHD/CINE.
SPECIFICATION 16:9 or 4:3 sensor mode. 4:3 output only for ARRIRAW and ProRes 2K recording
FRAME RATES
0.75–120fps (120fps with paidfor update)
FRAME RATES
At 16:9 – 0.75-120fps/60fps max when recording 2K ProRes/speeds adjustable with 1/1000fps precision
DIGITAL SAMPLING
2880x1620 Uncompressed ARRIRAW/ 1920x1080
DIGITAL SAMPLING
2880x1620 Uncompressed ARRIRAW/ 1920x1080
Single CMOS 16:9 (1.78:1) 23.8x13.4mm – S35
ARRI AMIRA 14 STOPS
PL MOUNT
2880x1620
ARRI ALEXA MINI 200FPS
The AMIRA uses a new revision of the ALEXA Classic/XT image sensor and now comes in three prices: Classic, Advanced and Premium. For docs and now drama.
SPECIFICATION
60FPS
Single CMOS 16:9 (1.78:1) 23.8x13.4mm – S35
FRAME RATES
Up to 200fps in ProRes
DIGITAL SAMPLING
2880x1620 Uncompressed ARRIRAW/ 1920x1080
2880x1620
SxS
Single CMOS 16:9 (1.78:1) 23.8x13.4mm – S35
FRAME RATES
Up to 200fps in ProRes
DIGITAL SAMPLING
2880x1620 Uncompressed ARRIRAW/ 1920x1080
> 14 STOPS
XPL MOUNT
5120x2880
AJA CION SXR/XR
With a sensor larger than a 5-perf 65mm film frame, ALEXA 65 heralds the start of Digital IMAX. Now shooting as a main production camera.
SPECIFICATION
SENSOR – FORMAT AND SIZE
PL MOUNT
SENSOR – FORMAT AND SIZE
ARRI ALEXA 65 SxS
14 STOPS
35mm format film digital camera with lightweight and compact carbon body, 4:3/16:9 switchable active sensor area, built-in NDs and interchangeable lens mounts.
SPECIFICATION
SENSOR – FORMAT AND SIZE
SENSOR – FORMAT AND SIZE
200FPS
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4K CAMERA LISTINGS
120FPS
12 STOPS
PL MOUNT
4096x2160
SSD PAK
CION is a 4K/Ultra HD and 2K/HD production camera. Shoots direct to Apple ProRes 4444 at up to 4K 30fps, ProRes 422 at up to 4K 60fps or outputs AJA Raw.
SPECIFICATION
SENSOR – FORMAT AND SIZE
ARRI A3X CMOS sensor, 54.12x25.58mm active image area. Open Gate aspect ratio of 2.11:1 (6560x3100).
FRAME RATES
Capable of recording 20-60fps (open gate) using new SXR media. XR drives allow 27fps.
DIGITAL SAMPLING
1.78 crop mode (5-perf 65mm): 5120x2880. and 1.50:1 crop mode – 4320x2880
SENSOR – FORMAT AND SIZE
4K APS-C sized 22.5x11.9mm
FRAME RATES
23.98–120fps (AJA Raw via 3G-SDI for 120fps)
DIGITAL SAMPLING
4096x2160 Uncompressed ARRIRAW
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