1. Workflow coordination
Already in the run-up the effort and the costs involved in post production and mastering can be significantly minimized. By coordinating the camera sytems used, the recording format and the editing technology, we can provide you with advice before the start of production so that nothing stands in the way of the data to be delivered.
2. Editing
When editing the film in post production, proxy material can be used to save resources. After the picture lock, the material is then further processed by us. The editing of the film does not necessarily have to be done on Magenta TV.
Flexibility and technology:
editing suites at Magenta TV
3. bringing online
Here, for example, the RAW data is made available online via our AVID editing system.
Depending on the source material, this can take between one day and two weeks. In order to avoid longer processing times, it is advisable to coordinate the process in advance (see Step 1 – Workflow coordination).
The material is then sent to our colorists for color grading.
4. HDR Master and Color Grading
Dolby-Vision HDR color correction is similar to the existing color grading workflow. The goal is to preserve more of what the original camera captured and limit creative compromises.
We work in the Nucoda FilmMaster in PQ at a defined peak luminance of 1000 Nits and in the color space based on the human visual perception system. For this we use the Dolby Vision compliant reference monitor “Sony BVM X300”, which also achieves high brightness levels and a wide colour space.
From this the HDR master will be created first, which does not yet contain any dynamic metadata. Our system then uses the Dolby-Vision algorithm to analyze the master grade and stores the obtained metadata.
The content is mapped for SDR at 100 Nits via a Dolby Engine and we then perform the “Trim Pass”. Attention: Since there are different DolbyVision models which are conditionally compatible, please coordinate the workflow in advance (step 1).
The HDR PQ master and the SDR master for the standard broadcast workflow will be finally rendered. Now you have the clean files as a starting point for further processing.
In the following and final step the credits, title, sound, graphics and/or subtitles are now assembled in our AVID editing system.
5. Finishing / Dolby Vision package
The entitled HDR material is re-analysed.
Another advantage of the DolbyVision workflow on Magenta TV, besides the optimized SDR version, is the easy creation of versions of your film with different titles in different languages and/or dubbed versions.
The trim data of the Dolby Vision workflow is used by the Clean HDR PQ Master from step 4. It is checked whether further adjustments are necessary.
The dynamic metadata is exported and a Dolby Mezzanine HDR PQ is rendered out. This provides you with the titled versions for a generic HDR PQ and the dynamic Dolby Vision mezzanine.
Efficient HDR and SDR versions on Magenta TV
As the first DolbyVision certified company in Germany, we offer comprehensive services from post-production to delivery, complemented by our extensive practical experience. In a nutshell: At Magenta TV, we focus on the efficient creation of HDR and SDR versions, always taking your cinematic requirements into account.
Our expertise as the first DolbyVision certified company in Germany covers all steps from post-production to delivery, supported by our extensive experience. Our aim is to achieve a convincing result in colour correction and colour grading. In mastering, we endeavour to create up to six variants that can be broadcast or further processed without any problems.
Would you like background information and to find out more about HDR, the formats and their differences? Then simply read our article “What you need to know about HDR as a film maker”.
