Post Magazine

September 2012

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Clipster receives DCP improvements H ANNOVER, GERMANY — Rohde & Schwarz DVS had Version 5 of its Clipster DI workstation at the IBC show this year. The new release has improved 3D performance and its DCP remastering process is now up to eight-times faster than before thanks to a new render pipeline. The new DCI validation tool also makes DCI workflows more user-friendly. Version 5 features extensive, easy-to-use DCP test functions enabling Digital Cinema Packages to be verified to ensure they comply with all DCI standards, as well as to see if they can be played back on popular DCI play- ers. In addition, the user can make selective changes to every DCP-validation parameter to suit various test procedures. Clipster supports mezzanine formats such as IMF (Interoperable Master Format), and also supports data from all leading cameras, processing it at faster than realtime. At the same time, playback in up to 4K at 60fps and 3D at up to 48fps is possible. A new 3D correction tool is helpful in the 3D presetting of 3D DCPs and deliverables. Giving 'Sparkle' its glow C ULVER CITY, CA — Sony Pictures Entertainment's (www. digital intermediate facility, Color- works, completed final post work for Sparkle, the new Tri-Star Pictures feature starring Jordin Sparks and the late Whitney Houston. DI colorist John Persichetti worked under the supervision of director Salim Akil and cinematographer Anas- tas N. Michos, ASC, in performing final color grading for the film, which tells the story of three sisters who form a singing group in 1960s Detroit. The grade needed to capture the flavor and essence of Detroit in the 1960s, both its working class neighborhoods and its many small clubs. Certain combinations of bold, rich colors were typical of the era. Those color patterns, evident in costuming and production design, were accentuated and sharpened in post. The film is not documentary or a biopic, and required an element of glamour, especially during performance sequences. Persichetti employed a variety of techniques to accentuate the star quality of the film's lead performers. He used tools to isolate details to achieve consistency in skin tones and to tone down a colorful costume to keep it from distracting from an actress' face. Eyeheight adds to color corrector line-up S URREY, UK — Eyeheight ( has added to its range of auto-legalizing color correc- tors with the new CC-3G. The unit is designed for use in digital cinema and high-end television post production, and is compatible with latest-generation 3 gigabit per second infrastructures. The CC-3G accepts all commonly used standards, from interlaced 525/625 standard defini- tion up to progressive 1080/50 and 1080/60 HD. The CC-3G allows fast adjustment of color balance to ensure visual consistency between adjacent sequences and throughout a program. An integral legalizer automatically conforms outgoing signals fully Codex for file- based workflows L ONDON — Codex Digital (www.codex-, a developer of digital media recorders and media management systems for film and television production, showed Onboard S at IBC 2012 in Amsterdam, mark- ing the first time this new recorder has been shown to the European market. The compact Onboard S recorder now sup ports ArriRaw and Canon Raw formats. Codex's Vault series is a modular, loca- tion-based media management environment. The solutions offer fast transfers, automated production management, full reporting, rug- ged design and a compact size for on-set or near-set file based workflows. Vault supports digital cinema cameras made by Arri, Sony, Canon and others. It is a stand-alone solu- tion requiring no external drives or process- ing. The Vault has its own internal proces- sor and works with Codex Transfer Drives for automatic back up of camera data. to user-defined standard output parameters or to the EBU R103-2000. Control of the CC-3G is via a dedi- cated panel. Adjustment of RGB component levels, lift and master gamma, as well as overall luma, chroma gain, black-level adjustment and hue can be performed in realtime. The CC-3G also uses Eyeheight's luma overshoot and undershoot suppression. Configurable parameters such as legalization levels are accessible via an intuitive menu system based on LED push buttons with electronically generated leg- ends. Settings assigned by one or more operators can be stored in six internal non-volatile memories. Post • September 2012 19

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