Unleash the power of UHD with our monitor calibration services

Unleash the power of UHD with our monitor calibration services

When you’re working on colour-critical projects, you need to be certain that what you see is what others will see. Our monitor calibration services will make sure your video monitors and AV projectors are colour accurate, and right for broadcast displays.

The colours on your monitor change over time, and the aim of colour calibration is to adjust the colour response of your monitor to a known state. Very basically, it means that the colours you see on your screen will match what is seen on other displays.

We’re equipped to calibrate old-school CRTs, LCDs, OLEDs and projectors to the Rec.709 standard for television, and any customer-specified standard you need. By default, we work to BBC standard grading, although we are aware that facilities grading for film will need to set their monitors slightly dimmer, which we can adapt to if required.

Grading for film and TV editing

Customers expect that display monitors for film and TV editing, grading and QC will be calibrated to the accepted standard to be usable in professional workflows. Our monitor calibration services aren’t about making your monitor look ‘great’ ­– rather they make it correct and compliant with industry standards. Remember – the person in the QC suite at the broadcaster’s mastering facility will be looking at a calibrated monitor, not a great-looking one.

Grading for images

Creative staff preparing images for film and TV need the colours on their monitor or projector rendered close to the ‘creative intent’ of the lighting cameraperson or director of photography. For example, if a monitor is emphasising blue, any grading work completed using that display will tend to come out looking too yellow

We work to the well-established standards that dictate how a camera turns light into digital signal values, and how display devices should turn those digital signal values back into light. With consistent calibration throughout a production (sometimes called a ‘colour workflow’), the creative intent of the producer can be delivered to the TV or cinema screen.

Why Jigsaw24?

We’ve been working with the creative industries for over 25 years, so have the experience and expertise you need, and have invested in all the right test equipment to correctly calibrate your monitor.

“Over the years we’ve been pleased to work with film and TV clients such as Shed Media, ITN, Channel Five, AMC Networks, Prime Focus, Molinare and NBC to name a few,” says our head of systems integration, Phil Crawley. “We ensure correct colourimetry across their production and post-production workflows. Since the industry is going through a step-change to UHD/4K/HDR working, the importance of correctly calibrated displays is more important than ever.”

For help with your monitor calibration, give us a call on 03332 409 306 or drop us an email at broadcast@Jigsaw24.com. You can also visit our monitor calibration page to find out more about the importance of correct monitor calibration, and what our services cover.

Blackmagic Design’s DaVinci Resolve 14 is shipping right now!

Blackmagic Design’s DaVinci Resolve 14 is shipping right now!

That’s right, the wait is over. The fourteenth iteration of Blackmagic Design’s DaVinci Resolve is shipping as we speak and we’re super excited. Existing Resolve users can upgrade free of charge, with version 14 promising up to ten times faster editing speeds, professional Fairlight audio, revolutionary collaboration and more.

Users will be able to take advantage of hundreds of new features and improvements for editors, colourists, and – for the first time ever – audio production professionals.

Resolve 14 comes packing a fresh playback engine that dramatically increases editing performance and responsiveness for trimming and playback, even when working with processor-intensive formats like H.264 and RAW.

Colour correction

Likewise, colourists will continue to enjoy the industry’s most powerful primary and secondary correction tools, complete with an advanced curve editor, tracking and stabilisation, noise reduction and grain tools, Resolve FX and the rest. They’ll also have access to a range of new filters, which include automatic facial recognition and tracking that allows users to quickly smooth skin tones, brighten eyes, alter lip colour and more.

Fairlight audio

For audio pros needing a complete end to end workflow, Resolve 14 includes Fairlight audio post tools that provide users with everything they need to record, edit, mix, sweeten and master sound for up to 1000 channels in realtime. The software also supports huge Fairlight audio consoles, and users can mix down and master to multiple formats, including 3D audio space formats such as 5.1, 7.1 and 22.2.

Collaboration

The latest version even boasts innovative new multi-user collaboration tools, including bin locking, chat and timeline merging that let editors, colourists and sound editors work on the same project simultaneously. That means you no longer have to waste precious time conforming or waiting for a locked edit before you can start work on colour and audio – ideal for hitting those tight deadlines and working in parallel so your team can spend more time being creative.

The free version of DaVinci Resolve 14 – which contains everything you’ll need for working on SD, HD and Ultra HD at up to 60 frames per second – is available to download now on macOS, Windows and Linux. If you require even more creative tools and options, Resolve 14 Studio, which you can purchase from our store here, provides support for 4K and higher along with frame rates of up to 120 fps, as well as lots of additional features that help make your work even more impressive.

Why Jigsaw24?

Working closely with Blackmagic Design and the DaVinci development team, developing qualified, scalable workstations on every platform has enabled us to become the go-to experts for Resolve in the UK and Nordic countries. We are one of the few partners chosen globally for DaVinci Resolve on Linux, showing that Blackmagic Design have a strong respect for our capabilities and understanding of the complexity and requirements in high-end grading systems and workflows. In 2015, we won the Blackmagic Design Outstanding Achievement award for our ongoing dedication to providing expert solutions and the best possible customer experience.

If you’d like to receive an expert demo (and a cracking cuppa) at our facility in Soho before upgrading, you can book in today by clicking here. Alternatively, you can arrange a test run with one of the team by dropping an email over to soho@Jigsaw24.com or calling 03332 409 285.

If you want to know more about DaVinci Resolve 14, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Our good friends at Goldcrest Post recently completed the beautiful grade and complex online using DaVinci Resolve Studio at their glorious London facility, utilising advanced collaborative features to streamline the process on a project where one reel weighed in at over 1000 cuts!

The world-leading team at Goldcrest provided Universal with full picture post services including a full HDR 4K grade using their end-to-end Resolve pipeline built on the turnkey Linux Hero systems provided by Jigsaw24.

For the feature, the Goldcrest team provided full post-production services for director Paul Greengrass, with Sinéad Cronin and Rob Pizzey, respectively, delivering the online edit and grade. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.”

 

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Cronin explains that the seamless DaVinci Resolve Studio workflow was critical. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline.”

Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey already had an extensive understanding of how the team wanted to use the grade to enhance the action. “In ‘Jason Bourne,’ there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains.

Jason Bourne (2016)

“Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.”

The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.”

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The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete story telling device,” concludes Pizzey.

For more information on how we can help you design, build and implement DaVinci Resolve Studio systems, get in touch with our experts (the same guys who helped Goldcrest of course) by emailing davinci@Jigsaw24.com or calling 033s2 409 306.

Suffragette uses Blackmagic Design’s DaVinci Resolve Studio for grading

Suffragette uses Blackmagic Design’s DaVinci Resolve Studio for grading

On the 2nd November 2015, Blackmagic Design announced that historical drama film Suffragette was graded by Goldcrest Post Production, London on DaVinci Resolve Studio. Here’s the press release from Blackmagic Design.

Opening the 59th BFI London Film Festival, Suffragette is the first feature film to tell the story of women’s right to vote, and united colourist Rob Pizzey with director Sarah Gavron and cinematographer Eduard Grau.

Not shying away from the violent aspects of the movement’s struggle, Grau and Pizzey were influenced by Saul Leiter in developing the film’s distinctively gritty style, shot on 16mm film and digital. A DaVinci Resolve plug-in, called Neat Video, was used in conjunction with a separate plug-in written by Pizzey so that the team could adjust the level of grain in real time, based on Gavron’s feedback.

“Suffragette is a wonderful film and thoroughly deserving of its place at the London Film Festival, it’s fantastic news and makes me feel very proud,” said managing director at Goldcrest Post London, Patrick Malone. “We have always been fortunate in terms of the diversity of projects we work on and it’s particularly rewarding when the more cerebral titles achieve exposure and acclaim.”

Also highly critically acclaimed was this year’s Hollywood remake of Macbeth starring Michael Fassbender and Marion Cotillard, which saw Goldcrest Post London colourist Adam Glasman work with director Justin Kunzel and cinematographer Adam Arkapaw to create a film filled with palpable brutality, surreal hallucinatory scenes and stylised colour jumps that broke all the grading rules using DaVinci Resolve Studio.

Instead of fulfilling his normal role as a colourist, seamlessly matching the colour of every shot in a feature, Glasman deliberately made colours jump between shots for Macbeth, intentionally ensuring they didn’t match to bring audiences the classic Shakespeare play as they’d never seen it before.

“This is an intensively competitive business requiring us to maintain the highest standards of service to uphold the reputation we have all worked so hard to achieve. Any lapse in these standards, particularly when working on high profile titles such as Suffragette and Macbeth, could be extremely detrimental to the business,” Malone concluded. “Resolve has become the lynchpin of our workflow, allowing us to design an exceptionally reliable and efficient picture pipeline. We now have a process that effectively satisfies the editorial and delivery requirements of a project, while providing directors of photography with an incredibly powerful finishing tool.”

Check out our range of Blackmagic Design products here, or browse our DaVince Resolve hardware and configuration page here. Want to know more? Give us a call on 03332 409 306 or email davinci@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.