Tag Archives: Colorfront

2017 HPA Engineering Excellence Award winners

The HPA has announced the winners of the 2017 Engineering Excellence Award. Colorfront, Dolby, SGO and Red Digital Cinema will be awarded this year’s honor, which recognizes “outstanding technical and creative ingenuity in media, content production, finishing, distribution and/or archiving.”

The awards will be presented November 16, 2017 at the 12th annual HPA Awards show in Los Angeles.

The winners of the 2017 HPA Engineering Excellence Award are:

Colorfront Engine
An automatically managed, ACES-compliant color pipeline that brings plug-and-play simplicity to complex production requirements, Colorfront Engine ensures image integrity from on-set to the finished product.

Dolby Vision Post Production Tools
Dolby Vision Post Production Tools integrate into existing color grading workflows for both cinema and home deliverable grading, preserving more of what the camera originally captured and limiting creative trade-offs.

SGO’s Mistika VR
Mistika VR is SGO’s latest development and is an affordable VR-focused solution with realtime stitching capabilities using SGO’s optical flow technology.

Red’s Weapon 8K Vista Vision
Weapon with the Dragon 8K VV sensor delivers stunning resolution and image quality, and at 35 megapixels, 8K offers 17x more resolution than HD and over 4x more than 4K.

In addition, honorable mentions will also be awarded to Canon USA for Critical Viewing Reference Displays and Eizo for the ColorEdge CG318-4K.

Joachim Zell, who chairs the committee for this award, said, “Entries for the Engineering Excellence Award were at one of the highest levels ever, on a par with last year’s record breaker, and we saw a variety of serious technologies. The HPA Engineering Excellence Award is meaningful to those who present, those who judge, and the industry. It sounds a bit cliché to say that we had a very tight outcome, and it was a really competitive field this year. Congratulations to the winners and to the nominees for another great year.”

The HPA Awards will also recognize excellence in 12 craft categories, covering color grading, editing, sound and visual effects, and Larry Chernoff will receive the 2017 HPA Lifetime Achievement award.

Colorfront demos UHD HDR workflows at SMPTE 2015

Colorfront used the SMPTE 2015 Conference in Hollywood to show off the capabilities of its upcoming 2016 products supporting UHD/HDR workflows. New products include the Transkoder 2016 and On-Set Dailies 2016. Upgrades allow for faster, more flexible processing of the latest UHD HDR camera, color, editorial and deliverables formats for digital cinema, high-end episodic TV and OTT Internet entertainment channels.

Colorfront’s Bruno Munger filled us in on some of the highlights:

More details:
·   Transkoder and On-Set Dailies feature Colorfront Engine, an ACES-compliant, HDR-managed color pipeline, enabling on-set look creation and ensuring color fidelity of UHD/HDR materials and metadata though the camera-to-post chain. Colorfront Engine supports the full dynamic range and color gamut of the latest digital camera formats and mapping into industry-standard deliverables such as the latest IMF specs, AS-11 DPP and HEVC, at a variety of brightness, contrast and color ranges in current display devices.
·   The mastering toolset for Transkoder 2016 is enhanced with new statistical analysis tools for immediate HDR data graphing. Highlights include MaxCLL and MaxFALL calculations, as well as HDR mastering tools with tone and gamut mapping for a variety of target color spaces, including Rec. 2020 and P3D65, as well as XYZ, PQ curve and BBC-NHK Hybrid Log Gamma.
·    New for Transkoder 2016 are tools to concurrently color grade HDR and SDR UHD versions, cutting down the complexity, time and cost of delivering multiple masters at once.
·    Transkoder 2016 will output simultaneous, realtime grades on 4K 60p material to dual Sony OLED BVM-X300 broadcast monitors — concurrently processing HDR 2084 PQ Rec. 2020 at 1000nits and SDR Rec. 709 at 100nits — while visually graphing MaxFALL/MaxCLL light values per frame.

Advanced dailies toolsets enhancements include:
·    Support for the latest camera formats, including full Panasonic Varicam35 VRAW, AVC Intra 444, 422 and LT support, Canon EOS C300 Mark II with new Canon Log2 Gamma, ARRI Alexa 65 and Alexa SXT, Red Weapon, Sony XAVC and the associated image metadata from all of these.
·    The new Multi-view Dailies capability for On-Set Dailies 2016, which allows concurrent, realtime playback and color grading of all cameras and camera views.
·    Transwrapping, which allows video essence data (the RAW, compressed audio/video and metadata inside a container such as MXF or MOV) to be passed through the transcoding process without re-encoding, enabling frame-accurate insert editing on closed digital deliverables. This workflow can be a great time saver in day-to-day production, allowing Transkoder users to quickly generate new masters based on changes and versioning of content in the major mastering formats, like IMF, DCI and ProRes, and efficient trimming of camera original media for VFX pulls and final conform from Arri, Red and Sony cameras.

IBC 2015 Blog: Rainy days but impressive displays, solutions

By Robert Keske

While I noted in my first post that we were treated to beautiful weather in Amsterdam during the first days of IBC 2015, the weather on day four was not quite as nice… it was full of rain and thunderstorms, the latter of which was heard eerily through the RAI Exhibition Centre.

CLIPSTER

The next-gen Clipster

I spent day three exploring content delivery and automation platforms.

Rohde & Schwarz’s next-gen Clipster is finally here and is a standout — built on an entirely new hardware platform. It’s seamless, simplified, faster and looks to have a hardware and software future that will not require a forklift upgrade. 

Colorfront, also a leader in on-set dailies solutions, has hit the mark with its Transkoder product. The new HDR mathematical node is nothing less than impressive, which is nothing less than expected from Colorfront engineering.

Colorfront Transkoder

Colorfront Transkoder

UHD and HDR were also forefront at the show as the need for higher quality content continues to grow, and I spent day four examining these emerging display and delivery technologies. Both governments and corporate entities are leading the global community towards delivery of UHD to households starting in 2015, so I was especially interested in seeing how display and content providers would be raising the standards in display tech.

Sony, Samsung and Panasonic (our main image) all showcased impressive results to support UHD and HDR, and I’m looking forward to seeing what further developments and improvements the industry has to offer for both professional and consumer adoption.

Overall, while its seemed like a smaller show this year, I’ve been impressed by the quality of technology on display. IBC never fails to deliver a showcase of imagination and innovation and this year was no different.  

New York-based Robert Keske is CIO/CTO at Nice Shoes (@NiceShoesOnline).

Bruno Munger joins Colorfront to head up biz dev

Colorfront, makers of on-set dailies and transcoding systems for films, episodic television and commercials, has named Bruno Munger director of business development. He brings 25 years of experience to his new position, including expertise in workflow design for file-based 2D/3D image capture, file-based delivery, VFX and DI color grading.

The LA-based Munger will work directly with Colorfront CTO Bill Feightner to further develop the company’s services and consulting business. Additionally, he will focus on the continuing roll-out of Transkoder, the company’s standalone file-conversion and mastering system for digital cinema and high-end UHDTV production. He will also oversee sales expansion of Colorfront’s Express Dailies and On-Set Dailies systems.

Previously, Munger worked at Colorfront reseller ALT Systems — the LA-based, full-service, systems integrator and workflow solutions provider for the entertainment industry — where he was CTO and company VP.

During a four-and-a-half year stint at ALT Systems, Munger managed the expansion of business services, especially in the area of on-set dailies solutions, and oversaw sales and implementations of Colorfront systems at film and high-end television post studios, including Technicolor, HBO, Bling Digital, Deluxe and 21st Century Fox. Colorfront will continue to work closely with ALT Systems as its main US distributor and reseller.

Prior to working at ALT Systems, Munger was involved in product management, product design, business development and customer training for Digital Vision, Autodesk, MTI Film and Snell & Wilcox.

Colorfront names image-science expert Bill Feightner CTO

BUDAPEST, HUNGARY — Colorfront (www.colorfront.com), a developer of high-performance, on-set dailies and transcoding systems for motion picture, high-end episodic HDTV and commercials production, has named image-science expert Bill Feightner chief technology officer.

Feightner’s appointment at Colorfront coincides with him being awarded the 2013 Technicolor/Herbert T. Kalmus Medal, by the Society of Motion Picture and Television Engineers (SMPTE), for his extensive contribution to the art and science of digital motion picture film image science.

Based in Los Angeles,  Feightner will lead Colorfront’s services and consulting business. He will also drive the development of Colorfront’s tools into new areas color and image-science, calibration, as well as remote, collaborative production and post production operations.

He brings over 35 years of experience to Colorfront, beginning his career as technical director of Compact Video before moving on to similar roles at Laser Edit and Composite Image Systems (CIS). He was co-founder and, most recently, CTO /executive VP of technology at Efilm Digital Labs (part of Deluxe Entertainment Services Group).

At Laser Edit, Feightner created a live, realtime, multilayer VFX compositing system, and continued this pioneering approach at CIS, where he helped to develop the 2K pin-registered telecine system that revolutionized the process of interactive image compositing for feature films.

At Efilm his innovations included new software for digital laboratory calibration; image processing and image management software; end-to-end, multi-site, collaborative workflow procedures and software; the fully-digitally timed DI pipeline on We Were Soldiers (2002); and the 4K DI finish on Spiderman 2 (2004). He was also responsible for the workflow on Extremely Loud & Incredibly Close (2011), the first US feature to shoot and post using the ArriRaw format. During his time at Efilm, Feightner worked closely with Colorfront on many projects.

Colorfront will reveal details about the 2014 versions of its Express Dailies, On-Set Dailies, Transkoder, plus future products and services, during a Colorfront User Group meeting on Saturday, October 19, at Sony’s Digital Motion Picture Centre, Culver City, prior to exhibiting at the SMPTE 2013 Annual Technical Conference and Exhibition, 21-24 October, in Hollywood.