CES2016: UHD Alliance present ‘UHD Premium’ standards for UHD and HDR

CES2016: UHD Alliance present ‘UHD Premium’ standards for UHD and HDR

The UHDA, formed a year ago, comprises of the biggest players in the global content creation and distribution industries. Their primary goal is to “Define a next generation premium audio-visual entertainment experience”, and at CES 2016 they have announced their first major step.

The UltraHD Premium ‘standard’ is not a format, like we have from the SMTPE for colour spaces (BT.2020, REC.709 et al), but as explained by UHDA President Hanno Blass – who is chief technology officer at 20th Century Fox – it is “…parameters that define the quality of the experience.” This is great news for content creators and consumers. Those of us looking for a UHD TV in the coming months will start to see this logo being used to show that the model complies with various requirements covering resolution, bit depth and colour spaces.

Blass provided the following details on these specifications that manufactures will have to meet to be legible for licensing the logo onto their devices:

UltraHD Premium Logo
UltraHD Premium Logo


“The UHD Alliance has developed three specifications to support the next-generation premium home entertainment experience. The three specifications cover the entertainment ecosystem in the following categories:

– Devices (currently, television displays, with other devices under consideration)

– Distribution

– Content

A high level overview of each technical specification can be found below. Please join the UHD Alliance for full access to all technical and test specifications.


The UHD Alliance supports various display technologies and consequently, have defined combinations of parameters to ensure a premium experience across a wide range of devices. In order to receive the UHD Alliance Premium Logo, the device must meet or exceed the following specifications:

– Image Resolution: 3840×2160

– Color Bit Depth: 10-bit signal

– Color Palette (Wide Color Gamut)

– Signal Input: BT.2020 color representation

– Display Reproduction: More than 90% of P3 colors

– High Dynamic Range


– A combination of peak brightness and black level either:

More than 1000 nits peak brightness and less than 0.05 nits black level


More than 540 nits peak brightness and less than 0.0005 nits black level


Any distribution channel delivering the UHD Alliance content must support:

– Image Resolution: 3840×2160

– Color Bit Depth: Minimum 10-bit signal

– Color: BT.2020 color representation

– High Dynamic Range: SMPTE ST2084 EOTF

Content Master

The UHD Alliance Content Master must meet the following requirements:

– Image Resolution: 3840×2160

– Color Bit Depth: Minimum 10-bit signal

– Color: BT.2020 color representation

– High Dynamic Range: SMPTE ST2084 EOTF

The UHD Alliance recommends the following mastering display specifications:

– Display Reproduction: Minimum 100% of P3 colors

– Peak Brightness: More than 1000 nits

– Black Level: Less than 0.03 nits

The UHD Alliance technical specifications prioritize image quality and recommend support for next-generation audio.”

These specifications will help consumers choose TV sets and other devices capable of showing the highest quality content which has been created to the same high specifications laid out by the industry leaders.

It will also influence the workflows and technology being chosen by production and post-production companies to make sure their content meets the standards being put together by the UHDA group.

UHDA Board Members at the CES Press Conference. From Left to right: Victor Matsuda (Sony), Masahiro Shinada (Panasonic), Bryan Barber (Warner Home Video), Mike Dunn (Twentieth Century Fox), Ron Sanders (Warner Home Video), Man Jit Singh (Sony), Hanno Basse (Fox), Michael Bonner (Universal), SP Baik (LG), Michael Wise (Universal), KG Lee (Samsung), Mark Turner (Technicolor), and Mahesh Balakrishnan (Dolby)
UHDA Board Members at the CES Press Conference. From left to right: Victor Matsuda (Sony), Masahiro Shinada (Panasonic), Bryan Barber (Warner Home Video), Mike Dunn (Twentieth Century Fox), Ron Sanders (Warner Home Video), Man Jit Singh (Sony), Hanno Basse (Fox), Michael Bonner (Universal), SP Baik (LG), Michael Wise (Universal), KG Lee (Samsung), Mark Turner (Technicolor), and Mahesh Balakrishnan (Dolby)


If you want to find out more about how Jigsaw24’s expert consultants can advise you on workflows and technologies around UHD and HDR content capture and creation, please get in touch with our team by emailing broadcast@jigsaw24.com

HBO’s Game Of Thrones graded with DaVinci Resolve at Chainsaw, LA

HBO’s Game Of Thrones graded with DaVinci Resolve at Chainsaw, LA

Here at Jigsaw24, we’re huge fans of HBO’s adaptation of George RR Martin’s fantasy series, so you can imagine our excitement to see the teaser poster be released by HBO this week for Season 6! In doubly exciting news, we can also share the news announced by Blackmagic Design, that Game of Thrones has been graded exclusively on DaVinci Resolve since 2012.

Joe Finley of Chainsaw Post Production, based in Hollywood, has been creating the multitude of rich looks required for the show using Resolve’s extensive feature set ideally suited for high end, long-form drama.

Winterfell, a key location from HBO's Game of Thrones, has maintained a specific cold, bitter look to reflect its location and the terrible luck its residents have had!

Winterfell, a key location from HBO’s Game of Thrones, has maintained a specific cold, bitter look to reflect its location and the terrible luck its residents have had!

Joe explained that the use of different color palates takes you on a journey and allows the viewer to know exactly where they are throughout the seven kingdoms of the realm.

Joe relies on DaVinci Resolve’s custom curves, secondaries, keyer and compositing to help create the nuanced looks and colors of the show. And he is able to show different looks in real time. “Resolve is fast, and this is part of why I love using it. It works in real time with no rendering, which is very helpful if I have to show different looks,” said Joe.

While nuanced color is important for distinguishing between locations and storylines, for the overall look of the show, Joe is tasked with delivering a very rich film look. “Regardless of the theme of the episode and whether we are going for a vibrant or muted color, I always give the footage a real film look. The highest possible feature look you can get without actually shooting on film,” said Joe.

In Stark contrast to Winterfell (mind the pun), the location of Dorne has a much richer and warmer palette to reflect the warmer weather and differing attitudes of the location and its people

In Stark contrast to Winterfell (mind the pun), the location of Dorne has a much richer and warmer palette to reflect the warmer weather and differing attitudes of the location and its people

“When working with LOG material, you need a great starting point to give it a film look. The ability to use the LOG rhythmic side of color correction in harmony with linear, regular color correction to manipulate the whites and the blacks is a tool in Resolve that I use constantly,” Joe concluded. “DaVinci Resolve never hinders you creatively, it only enhances.”

If you want to learn about our DaVinci Resolve solutions, including the same high-end systems used on shows such as Game of Thrones, drop an email to davinci@jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook. Game of Thrones Season 6 launches on HBO in April 2016 (we can’t wait).

Jigsaw24 at BVE 2013: Shared online storage and editing

Jigsaw24 at BVE 2013: Shared online storage and editing

Whether you need fast local drives to edit from or are looking to set up a SAN that all your artists can share, online storage is without a doubt one of the most important aspects of the post setup. We can advise you on everything from Fibre Channel networks that’ll make sharing 4K files a breeze to local Thunderbolt drives that’ll help iMac-based assist stations keep up the pace, as well as planning how to support your Active Storage setup going forward or helping you transition to the most cost effective Avid solution around.

High speed DAS

When it comes to Direct Attached Storage, you want the fastest speeds possible – especially if you’re one of the growing number of people who have to deal with the large files generated by 4K projects. Luckily, there are a range of rackmount Fibre Channel, iSCSI and SAS options available from vendors like Dot Hill.

Your desktop options are SAS, eSATA and Thunderbolt, with Sonnet, LaCie, PROMISE and G-Tech all delivery solid options. If you want to move between machines and aren’t always going to be working with Thunderbolt-equipped Macs, their are plenty of USB 3.0 RAID options out there, too. (We’ll actually have the UK’s only Thunderbolt LaCie 5big on our BVE stand, F33.)

Shared storage and Storage Area Networks

It’s hardly surprising given how long they’ve been turning out their own hardware, but in the ISIS range Avid have one of the best shared storage systems around for post work. The ISIS 5000 (starting at 16TB) and ISIS 7000 (starting at 32TB) are incredibly scalable – the 7000 can grow to over a petabyte, so scaling upward as your business grows won’t be a problem.

However, the real benefit is its tight integration with Media Composer via ISIS client manager. It enables bin locking and features like FlexDrive, which allows you to add workspaces and change the amount of space assigned to each on the fly, ensuring priority jobs are always given the resources they need. Besides this, the ISIS file system has been designed from the ground up to help you deliver realtime QoS to multiple workspaces and support simultaneous access to media, which anyone who’s managing a busy facility will appreciate – it’s even tested and qualified with Final Cut Pro 7 and Premiere Pro CS6, so you can keep all your machines on a single shared storage system.

Another point in ISIS’ favour is the fairly staggering range of offers available – you can trade in Unity and LANshare seats for discounts, and if you trade in Final Cut Pro seats for Avid ones you can get 32TB of ISIS storage and ten seats of Media Composer for £35K.

Also worth a look is StorNext, a SAN solution from the ever-reliable Quantum. This software underpins Apple’s XSan, which is an option if you’re after a blistering fast Final Cut or Premiere Pro workflow. If you’re in a smaller workgroup, no worries: our qualified team of engineers can work with you to design and build a shared storage system that’s tailored specifically to your facility, whatever mixture of platforms and programs you need it to support.

And if you went for Active Storage…

As with the recently withdrawn Mac Pro, we’re gathering Active-related hardware (our stash of spares include drives, PSUs and RAID controllers) and we’ll honour any existing support contracts we have with our Active Storage customers – you can even add hardware cover to your existing contract if it’s not in there. We’re also taking on maintenance contracts from other Active customers, even if you didn’t buy your original setup from us. Our support programme is still developing, so if you have any specific requirements get in touch or drop by stand F33 and we’ll see how we can help.

Want to know more? Give us a call on 03332 409 306, email broadcast@Jigsaw24.com or visit us at stand F33 at BVE. To keep up with all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Davinci Resolve: the inside track

Davinci Resolve: the inside track

Resolve 9 brings a drastic redesign to the interface, allowing the software to be more streamlined and continue to move forwards in a positive direction. Rather than just running you through the (admittedly impressive) spec list, we thought we’d ask some of the guys that have been testing the software what they thought.

We sat down with Resolve 9 test pilots Dan Moran (Smoke & Mirrors) and Warren Eagles (ICA) to find out what they think of the new features.


Davinci Resolve v9's new Lightbox view.

Davinci Resolve v9’s new Lightbox view.

Let’s start with the most obvious change: the interface.

Dan: I think the new interface is a great step forward for Resolve. Each icon and menu has been carefully thought about, and the whole interface has been streamlined so that every tool or function is right at your fingertips.

How robust have you found the additional editing and dailies tools?

Dan: The new dailies tools are a huge step forward for Resolve, and should make the DIT’s life a whole lot easier. For example, now you can load Arri RAW, set your look, sync all your audio in one click and then set up a render queue to make DPX for your VFX department, DnxHD 36 for your offline and H.264 for your director’s iPad.

Warren: The sound syncing allows for syncing by association of a sound file to a picture file or manual syncing. The burn-ins page is much improved, so I think it could be used as a dailies tool, though I’ve not actually used Resolve v9 on any dailies workflows yet. More features for dailies guys will come once v9 is released and Blackamagic Design get good feedback from the users. The editing hasn’t changed much, but the media page is much better – lots more info on the clips, FPS, codec, camera, etc. As a colourist you have to understand the material you are working with, and the improved media page allows us to do this.

Who do you think will benefit most from the changes?

Warren: They make it much easier for the new guys and basically anybody who has to prep and render their own timelines. The ‘hero’ graders who just grade might be wondering why it all had to change…

Will anyone be disappointed?

Warren: Only guys who don’t want to relearn things, but to be honest a day of playing and reading will get you up to speed. I have been using Resolve for seven years and the change doesn’t bother me. It’s faster, easier and still has the creative tools for me to service my clients, so it’s all good. I’m just going to throw in that this would be a good time to take an ICA R201 class…

Do you have any favourite features you’d advise people to try out if they’re on the fence?

Dan: My favourite new feature is probably split between the Log Grading mode and the Lightbox view. Log Grading mode is a new creative toolset for manipulating the picture with ultra-precise control, and the Lightbox is such a great way of speeding up your sessions, as you can see every shot open in front of you and quickly grab the grades you need.

Warren: The tracking has improved from v8. And that’s not just the interface – old material that didn’t track so well in v8 now tracks. The rendering is significantly faster… is that a good thing for a freelancer on an hourly rate? Seriously, I like that you can trim .R3D files. This feature allows you to conform your RED footage from the client’s HDD drive, add handles, then make new .R3Ds that are much shorter than the original clip, and which also have the advantage of sitting on your fast storage.

Working hard or hardly working? Jigsaw24’s Lewis and Jamie with Warren at Blackmagic Design’s Summer Reseller Event

For a closer look at Resolve 9, see Alexis Van Hurkman’s 20-minute post-NAB demo on YouTube.

Keep checking back for exclusive demos, tutorials and training info from our Resolve team. In the meantime call 03332 409 306 or email DaVinci@Jigsaw24.com. For all the latest post-production news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.

DaVinci Resolve: a User’s Eye View

DaVinci Resolve: a User’s Eye View

As Resolve makes its way onto the Mac, we find out why DaVinci devotee and certified Color trainer Warren  Eagles (he’s the one on the left) thinks it’s worth making the move…

What kind of projects do you grade with Resolve?

I have been using Resolve since 2006, grading mostly commercials and movies. I am currently working on a 13-part Australian drama, plus various music videos.

Why do you use Resolve?

Resolve helps to make my job easy. It’s very fast, so I can show clients lots of different looks – including blurs and framing changes – in realtime. From a business perspective we can only bill our clients when we are grading, so the faster we can render and output our material, the quicker we can start on the next job.

Practically, I use a Window on nearly every shot and Resolve has shortcuts that make that very fast, so I can be as creative as possible and still work quickly.

Aside from the realtime playback, what makes Resolve stand out for you?

There’s a cool feature that allows you to grab a still to use as a reference frame, but keep the node tree history of the clip the still came from. This tree can then be broken down and each individual node can be dragged to a new clip, so if you’ve got a great sky colour and shape on a still, you can just drag that node onto the current shot and the effect is applied for you.

Resolve is also very happy manually keyframing or using a mixture of auto and manual tracking, and the tracker is faster and more reliable than the ones you’ll find in other applications.

How does it handle multiple timelines and EDLs?

Really well. If you have five versions of a commercial, you can conform them all, then grade the longest version. If any shots appear in the cut down versions, they’ll automatically be graded to match in their own timeline. So if you’ve spent a day grading a show and the cut changes, you can just re-conform and the grades will fall into their new place.

Do your clients like it?

Yeah, there are some big client pleasers. A tool like Powergrade, which lets me pre-build looks, save them and then apply them in any session to any format or resolution, is good for this. If the client’s searching for something different, I can show them different looks at the start of a session.

It’s quite a complex system – how have you found the controls?

I have always been a DaVinci user, so found the transition from the DaVinci 2K to Resolve fairly easy. The UI could be more flexible, but the different needs of the commercial colourist and the feature colourist mean the UI is sometimes a compromise for both guys.

The Resolve control surface looks complicated, but there is a reason for all those buttons and knobs. Each function has a dedicated set of controls, so the framing can be done with its own set of buttons, which are entirely separate from the Power Window buttons. Having these different controls helps my sessions run smoothly.

How does it compare to other colour correction systems you’ve used?

The tools are very colourist friendly. I like to work with an audio guide track, and Resolve enables me to bring in a WAV file that matches the show I am grading.

It has unlimited nodes, so I’m not restricted to eight secondaries like in Color. It’s faster to pull colour keys and make Power Windows, something I do all the time, and of course Resolve has YUV controls so you can adjust the contrast of the picture without affecting the saturation.

Which tools do you miss most when you’re using other systems?

Grading the timeline in C or A mode. If I’ve conformed shots in Resolve, I will always switch to C mode before the clients come in. This means everything is in shooting/timecode order, so shots are naturally grouped together: all the wide shots are now back to back, as are the close-ups. I then colour the shots I need before switching back to A (edit mode), and all the grades fall into place in the context of the cut. This is very easy to do and extremely useful.

I’m also a big fan of Versions, which you don’t find in other programmes – if I need to make a different grade for a skin pass or a car plate pass, I can add it to a clip as a Version and it will automatically get rendered to a folder with the source timecode and the name I gave it.

Are there any situations when you wouldn’t recommend Resolve?

Color probably wins if you’re doing simple primary grades and roundtripping from Final Cut. Color’s secondary curve controls are good – I’m using them more and more – and the Color Effects room is very useful. It does add to the render time, though…

Still not sure if DaVinci’s for you? Take a look at Resolve’s specs. You can also call us for more information on 03332 400 222, email DaVinci@Jigsaw24.com or take a look at our full broadcast range.

To get in touch with Warren, visit www.icolorist.com or call +61421603111.