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.

Devices

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

– SMPTE ST2084 EOTF

– A combination of peak brightness and black level either:

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

OR

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

Distribution

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).

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.