Pablo Rio, Pablo PA V2.0 rev 13 New Feature List If you have any questions please contact Damon Hawkins damon.hawkins@quantel.com 1
V2.0 rev 13 New Features September 2014 New feature headlines: Improvements to the video output menu Flow Motion motion estimated speed changes Un-localise / re-soft mount of clips Partial localise direct to the timeline DCP Import / Soft mount QUtilities plugin menu added to Pablo PA Quicktime Export add Fast Start header for streaming Upgrade ARRIRAW SDK to 4.5 Export / Import / Soft mount ProRes 4444 XQ Import / Soft mount Sony long GOP XAVC Import Sony SDK added support for SGamut-3 / Slog-3 Export AS-11 MXF with UK DPP Specification 2
Improvements to the video output menu The video output menu has changed to make it simpler and more intuitive to use. Previously there was a long list of output formats with many combinations made available. This has now been simplified to only show allowed resolution / framerate combinations to be displayed. For example when HD 1080 is selected as an output resolution then all possible frames rates are shown as above. With HD 720 selected then the framerate choice is much more restricted with only the possible framerates shown. It is also possible to save the selected combinations as a favourite or custom setting. By clicking on save a default name will be suggested and this can either be kept or renamed. Items from the custom list can also be deleted by clicking the X on the right as shown. 3
Flow Motion motion estimated speed changes In addition to the existing a/v stretch feature available from the Desktop clip menu to the right is flow motion, a motion estimated toolset to give deinterlace, noise reduction and speed change options that use advanced image motion analysis. The layout of the flow motion menu is very similar to a/v stretch in basic operation with some additional menus. Input and result scan options By default, any flow motion process will produce an output which is in the same format as the input source. The Input scan and Result scan will automatically reflect the source clip. Where the Input scan is interlaced then setting the Result scan to progressive will render a high quality result based on the motion in field 1. The number of frames in the result clip remain the same as the source clip. There is no effect in setting a progressive source and an interlaced result in this version. 4
Denoise There is a basic denoise functionality available. For simplicity there is a single selector that will allow the degree of noise removal to be chosen. If this is set too far in the high direction then image quality will be reduced. Speed change Speed selection and profiling options are the same as a/v stretch. There is no audio element to flow motion however. Motion estimated speed change seeks to measure the motion of objects from one frame to the next and then calculate the position of an object at some fraction between the two. The image is then reconstructed at this fractional point. This is not an absolute calculation and there may be artefacts caused by the software s ability to find the corresponding feature in the next frame. 5
Also, the further the software has to search for a match then the more likelihood there is of an error and speed of processing will be adversely affected. Two controls are provided to help bracket these issues: 1. Scene motion selection. The faster objects are moving around the scene the larger the area that has to be searched for a match. Set this control to the slowest end of the scale to commensurate with a quality result. 2. Scene Clutter selection. The more complex the scene is then the more discerning the search process needs to be. Again, this will have an impact on performance both in speed and quality. Only experience and trial and error can guide the user to the best settings for any particular shot. Note: Flow Motion uses a lot of CUDA memory especially at 4K. If media is also soft mounted and uses CUDA such, as RED r3d files, then memory requirements become much greater. It is recommended that if Flow Motion is to be used on soft mounted RED material then at least 2 Tesla cards would be required or the media localised first. Un-localise / re-soft mount of clips There may be cases where it is beneficial to un-localise or re-soft mount a clip that has been localised. For example if an r3d file has been localised with the incorrect debayer settings then it would be good to be able to gain access to them, for changing for example the dynamic range or iso whilst grading. This can be done by right clicking (alt+tap) on the timeline, on a floating clip or in the library and selecting remount as shown. In the library there is an option to remount video and audio separately. 6
Partial localise direct to the timeline This development allows soft mounted DPX clips (or other file sequence types) to use localised media if present. This is particularly useful for Pablo Rios and Pablo PAs that may be soft mounting clips via Sam on older GE systems. This allows subsections of the timeline to be chosen as clips for localisation in the order they re required. As each clip localisation finishes and is placed in the clips library, that section of the original soft-mount timeline will use the localised media in preference to the soft-mounted remote media. This brings the behaviour of such functionality in line with formats such as RED where the same functionality is handled. DCP Import / Soft Mount (requires licensing otherwise media will appear low res after the first few seconds) DCP compositions can be imported or soft mounted. Navigate first to the DCP directory as shown. Next select the DCP tab at the bottom of screen and select open DCP. The composition will be displayed and can then be dragged into the workspace for import of soft mounting. 1. Select directory 3.Open DCP bin 2. Select DCP tab Note: There is still some performance optimization to be completed with DCP in, especially at 4K. This will be part of a future release. 7
QUtilities plugin menu added to Pablo PA In order to maintain compatibility beyween Pablo Rio and Pablo PA, especially to support the use of luts per cascade, the QUtilities plugin menu has been added to Pablo PA as shown. It will be available wherever the plugins menu is present. Quicktime Export add Fast Start header for streaming Previously the Quicktime export code writes out all the video data and then writes a header at the end. To support streaming the file, the header is now at the beginning of the file. This is now the default for all Quicktime file exports. Apple ProRes export has always supported this. Upgraded ARRIRAW SDK to 4.5 The new SDK contains the following new features: Support for Open Gate formats (3424x2202) Support for new colour spaces scene linear wide gamut and scene linear camera native Support for 1.3x and 2.0x anamorphic lenses Support for various upscale formats (4K and Quad HD) Support for monochrome footage (ALEXA XT B+W) The de-bayer menu has been updated to reflect these changes. The SDK level is auto detected from the file header. Depending on the SDK level detected some of the features may not be available such as in the case of older D20 and D21 files. 8
De-bayering modes An explanation of de-bayering can be found here: http://www.arri.com/camera/alexa/workflow/working_with_arriraw/arriraw/de_bayering/ Mode Description ADA-1 HW current camera hardware de-bayer algorithm introduced with SUP 7.0 ADA-2 SW More complex de-bayering with extended edge handling ADA-3 HW Hardware optimised de-bayering as realised in new ALEXA cameras ADA-3 SW enhanced software de-bayering algorithm based on ADA-3 HW. Depending on the scene content, it can deliver more image detail than ADA-3 HW Note: For legacy material shot on D20, D21 cameras, these cameras only support only SDK level 1. Sample images taken from 2880x1620 Colour test chart zoomed in 19x: ADA-1 ADA-2 ADA-3-HW ADA-3-SW De-bayering modes are unsupported when using proxy mode. Monochrome footage does not support de-bayering modes. 9
Colour space modes Colour Colour space Description encoding Log C Camera native Native camera colour space, no colour matrix is applied 2 Film Film-style colour mapping Wide Gamut Camera internal colour space, used for V3 LogC encoding Monochrome LogC monochrome colour space 3 Video ITU709 Primaries of the output colour space according to ITU Rec. 709 2 P3 Primaries of the output colour space according to DCI P3 colour space 2 Monochrome Video monochrome colour space 3 Scene Linear 4 ACES Primaries of the output colour space according to ACES specification 2 Wide Gamut Camera internal colour space 1 Camera Native camera colour space, no colour matrix is applied 1 Native 1. SDK level 3 does not support Scene Linear Wide Gamut or Camera Native colour spaces 2. SDK level 1 only supports LogC Camera native, ITU709, P3 and ACES colour spaces. For legacy material selecting ACES colour space may result in a decoder error depending on the camera used to shoot the material. 3. Monochrome footage only supports monochrome colour spaces and colour footage cannot be converted to monochrome colour space. 4. Files imported using Scene Linear colour spaces should change the colour format to Log space. Select the clip in the clips bin, from the menu select attribute s and change log/lin from linear to logarithmic. 10
Scaling modes (non-proxy mode) Where sizes are not hosepipe aligned, the hosepipe aligned size appear in brackets following the scaled size. For 3424x2202 only SDK level 4 is supported. For legacy material shot on D20 and D21, only support SDK level 1 For SDK levels 1 and 3 only Native 2880px, 2K, HD 4:3 aspect and SD downscale modes are supported. Anamorphic factors should only be applied to material that has been shot using an anamorphic 1.3x or 2.0x lens. For spherical lenses the standard anamorphic factor 1 should be used. Size Scaling mode Anamorphic Factor Scaled resolution 3424x2202 Native 1 3414 x 2198 (3424 x 2198) 2K 1.78:1 aspect 1 2048 x 1152 2K DCI 1.85:1 aspect 1 1998 x 1080 (2000 x 1080) 2K 1.85:1 aspect 1 2048 x 1108 2K 2.39:1 aspect 1, 1.3, 2 2048 x 858 HD 1.78:1 aspect 1 1920 x 1080 HD 1.85:1 aspect 1 1920 x 1038 HD 2.39:1 aspect 1, 1.3, 2 1920 x 804 4K DCI 1.78:1 aspect 1 3840 x 2160 4K 1.78:1 aspect 1 4096 x 2304 4K DCI 1.85:1 aspect 1 3996 x 2160 (4000 x 2160) 4K 1.85:1 aspect 1 4096 x 2214 4K 2.39:1 aspect 1, 1.3, 2 4096 x 1716 Quad HD 1.85:1 aspect 1 3840 x 2076 Quad HD 2.39:1 aspect 1, 1.3, 2 3840 x 1608 2880x2160 Native 1, 1.3, 2 2880 x 2160, 3744 x 2160, 2880 x 1080 2K 1, 1.3, 2 2048 x 1536, 2048 x 1184, 2048 x 768 2K 1.78:1 aspect 1 2048 x 1152 2K 2.39:1 aspect 1, 1.3, 2 2048 x 1113, 2048 x 858, 2048 x 858 2K DCI 1.85:1 aspect 1.3 1998 x 1080 (2000 x 1080) HD 1.78:1 aspect 1, 1.3 1920 x 1080 HD 2.39:1 aspect 1, 1.3, 2 2160 x 1620, 2160 x 810, 1920 x 804 HD 4:3 aspect 1, 1.3, 2 1920 x 1440, 1920 x 1110, 1920 x 720 SD 1, 1.3, 2 768 x 576, 768 x 576, 768 x 288 4K DCI 1.78:1 aspect 1.3 3840 x 2160 4K DCI 1.85:1 aspect 1.3 3996 x 2160 (4000 x 2160) 4K 2.39:1 aspect 1, 1.3, 2 4096 x 2228, 4096 x 1716, 4096 x 1716 11
4K 1, 2 4096 x 3072, 4608 x 1728 Quad HD 2.39:1 1, 1.3, 2 4320 x 3240, 4320 x 1620, 3840 x 1608 Quad HD 4:3 aspect 1, 2 3840 x 2880, 3840 x 1440 2880x1620 Native 1, 1.3, 2 2880 x 1620, 3774 x 1620, 2880 x 810 2K 1, 1.3, 2 2048 x 1152, 2048 x 888, 2048 x 576 2K 1.78:1 aspect 1 2048 x 1152 2K 2.39:1 aspect 1, 1.3, 2 2048 x 1113, 2048 x 858, 2304 x 626 HD 1.78:1 aspect 1, 1.3 1920 x 1080, 1920 832 HD 2.39:1 aspect 1, 1.3, 2 2160 x 1216, 2160 x 608, 1920 x 601 HD 4:3 aspect 1, 1.3, 2 1920 x 1080, 1920 x 832, 1920 x 540 SD 1, 1.3, 2 768 x 432, 768 x 432, 768 x 216 4K 2.39:1 aspect 1, 1.3, 2 4096 x 2228, 4096 x 1716, 4608 x 1252 4K 1, 2 4096 x 2304, 4608 x 1296 Quad HD 2.39:1 1, 1.3, 2 4320 x 2430, 4320 x 1216, 3840 x 1204 Quad HD 4:3 aspect 1, 2 3840 x 2160, 3840 x 1080 2868x1614 2K 1.78:1 1 2048 x 1152 Supported proxy modes A proxy mode can be enabled by checking the box as shown. The following table details for which sizes, modes and anamorphic factors, proxy mode is supported, imported sizes that are not hosepipe aligned, the aligned size appears in brackets following the scaled size. Monochrome footage does not support proxy mode 12
Size Scaling mode Anamorphic Factor Scaled resolution 3424x2202 Native 1 1707x1099 (1712x1099) 2K 1.78:1 aspect 1 1024x576 2K DCI 1.85:1 aspect 1 999x540 (1000x540) 2K 1.85:1 aspect 1 1024x554 2K 2.39:1 aspect 1, 1.3 1024x429 HD 1.78:1 aspect 1 960x540 HD 1.85:1 aspect 1 960x519 HD 2.39:1 aspect 1, 1.3, 2 960x402 2880x2160 Native 1,1.3 *, 2 1440x1080, 1440x540, 1440x540 2K 1, 1.3, 2 1024x768, 1024x384, 1024x384 2K 1.78:1 aspect 1 1024x576 2K 2.39:1 aspect 1, 1.3, 2 1024x429 HD 1.78:1 aspect 1.3 960x540 HD 2.39:1 aspect 2 960x402 HD 4:3 aspect 1, 1.3, 2 960x720, 960x360, 960x360 SD 1, 1.3, 2 384x288, 384x144, 2880x1620 Native 1, 2 1440x810, 1440x405 2K 1, 1.3, 2 1024x576, 1024x288, 1024x288 2K 1.78:1 aspect 1 1024x576 2K 2.39:1 aspect 1, 1.3, 2 1024x429 HD 4:3 aspect 1, 1.3, 2 960x540, 960x270, 960x270 SD 1, 1.3, 2 384x216, 384x108, 384x108 * Only works with SDK level 1 and 3 Note: When proxy mode this may enable real time playback of soft mounted material. When rendering it needs to be disabled in order to render at the desired scaled size, otherwise the rendered size will be the proxy size. Conversion of older downscale modes to new modes If ARRI files have been soft mounted in a previous version they will be converted to the equivalent new downscale mode where it is possible. The following table details how the new sizes are matched to the new downscale modes. Sensor size Downscale size New downscale mode 2880x2160 2880x2160 Native 2304x1728 1 Native 2048x1536 2K 1920x1440 HD 1440x1080 Native proxy (2880x2160->1440x1080) 13
960x720 HD proxy (1920x1440 -> 960x720) 768x576 SD 2880x1620 2880x1620 Native 2304x1296 1 Native 2048x1152 2K 1.78:1 1920x1080 HD 1.78:1 1440x810 Native proxy (2880x1620 -> 1440x810) 960x540 HD proxy (1920x1080 -> 960x540) 768x432 SD 1. 2304 widths have no direct equivalent scaling mode in the new SDK, these are now set to native resolution, it is advised that these should be set by the user to the desired available scaled sizes. A warning will be presented to the user if such material is accessed. Conform For conform there is an additional button to set the sensor size, this is required to allow the user to set the required downscale mode and size. Note: If you drop settings saved from a previous version the sensor size will default to 2880x2160 and the scale mode to Native. The user should modify the settings if the default settings are incorrect. For soft mounted material it is possible to modify one or more segments that are composed of different ARRI files. However, the downscale modes are specific for a particular sensor width and in some cases camera and colour space. This means that if you have an edit consisting of open gate (3424 pixel width) and 2880 pixel width, you cannot select both segments and set both of them to the same scaling mode settings. The settings have to be applied to segments that have the same pixel width. Other caveats are legacy material such as D20/D21 footage and monochrome material. For instance you could not change the SDK level to 4 for D20/D21 material and likewise if you had a mixture of monochrome and colour footage you could not set them both to use Scene Linear colour spaces. Export / Import / Soft mount ProRes 4444 XQ Apple have created a new codec Apple ProRes 4444 XQ which is a higher bit rate version of Apple ProRes 4444 which Quantel now support on export, import and soft mount. Some cameras such as the new Alexa XR/XT will support this codec. 14
This format has a very high data rate to preserve the detail in high-dynamic-range imagery generated by today s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery. This holds true even against the rigors of extreme visual effects processing in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920x1080 and 29.97 fps. Note: The export option for Apple Pro Res 4444 XQ (ap4x) will only appear in the menu if the clip is logarithmic. Import / Soft mount Sony long GOP XAVC The following formats Sony XAVC long GOP formats are supported for import and soft mount. XAVC HD Profile for the XAVC MXF File Format Max Bit Video Rate Resolution (Mbps) Frame Rate 50i 59.94i 23.98p 24p 25p 29.97p 50p 59.94p 1280 x 720 50 Y Y 1920 x 1080 50 Y Y Y Y Y Y Y 1920 x 1080 35 Y Y Y Y Y Y Y 1920 x 1080 25 Y Y Y Y Y XAVC 4K Profile for the XAVC MXF File Format Max Bit Video Rate Resolution (Mbps) Frame Rate 50i 59.94i 23.98p 24p 25p 29.97p 50p 59.94p 3840 x 2160 188 Y Y Y 3840 x 2160 300 Y Y Import Sony SDK added support for SGamut-3 / Slog-3 Both of these have been added to the Colour Space and Profile de-bayer choices in the import menu. Colour Space: This applies a set of matrices to the raw data to transform the original sensor data to a selection of standards. This is a colour gamut conversion only. 15
S-Gamut/S-Gamut3 - The camera s native colour space S-Gamut3.cine - A wider colour space more adapted to grading. Colorimetrically close to P3DCI. srgb/rec709, P3DCI, P3D60, XYZ, ACES - S-Gamut data are converted to the selected standard. ACES - must be paired with a profile of ACES for correct operation. Profile: The Colour Space converted data is fed through 1D luts to change the intensity based input into a more useful form for onward computation. Linear: This presents intensity data to the clip. Generally this will appear dark as the normal intensity range sets black to 512 and scene white to 5472 counts from a potential range of 65536 counts. To assist with seeing this data a scale factor control is enabled when Linear mode is selected. S-Log2: This Sony profile converts the input data into a film like density response. When colour correcting this material then the standard DMin and DMax settings in the pre-process should be changed to: DMin = 90 DMax = 582 S-Log3: The latest Sony profile conforming more closely to Cineon negative workflows. For this the DMin and DMax in pre-process should be changed to: DMin = 95 DMax = 610 These settings can also be changed to new defaults in the F1 page. ACES: Converts the data to conform to Quantel ACES processing standard. ACES selection must be paired with ACES in Colour Space for correct operation. The correct DMin and DMax settings in the colour corrector pre-process are: DMin = 143 DMax = 494 3D lut availability: A package of viewing and pre-process luts is available in 17, 33 and 65 vertex to suit the users system. This is available here http://www.quantel.com/repository/files/sonymanagedluts_july14.zip This package contains luts at all sizes and the user is recommended to use luts at the highest resolution for their system. 16
Export AS-11 MXF with UK DPP Specification Selecting the options below will export an MXF files that is compatible to the UK DPP Shim specification. The resultant file can then be opened with the DPP metadata app http://www.digitalproductionpartnership.co.uk/downloads/metadata-application/ When opened the required fields highlighted in red will need to be filled in with the appropriate information before a valid file is made. 17
Once the file is valid then a DPP AS-11 file can be generated with or without the sidecard XML file as shown below. Future development will allow the generated XMLs file to be used in the export menu to write the appropriate metadata fields into the file. 18