Grading
in dynamic HDR, SDR and UHD

DISTINCTIVE CHARACTER

We love colors and know that color correction is a vital instrument for giving your film a unique flair. While the focus of the cut is on rhythm and speed, here we influence the overall effect using mood and tonality. An artistic step that requires a lot of creativity and experience.

In the classical sense, it is also important to look at different characteristics in the starting material in formats such as documentaries or reports. By making adjustments for each scene, we create a single overall impression using color correction - because a well-rounded result does not irritate the viewer and gets to the heart of the key issues. Together with you, we find the perfect look.

You can also rely on our know-how in the processing of your treasure in the archive. With us, historical material is in the best hands and can be brought back to life.

Eyes open

On two correction points, with the Digital Vision Nucoda HD FilmMaster Color-Grading-System, we design and control the effect of the color of your movie with profound knowledge and uncompromising care.The DVO Noise Reducer, which we use as a plugin, is very useful.

This Emmy Award-winning noise reduction technology, provides for absolute perfection in all situations. We are fully networked and with a few clicks the material from the cut is in color correction within seconds. All points are equipped with Sony Trimaster OLED monitors, Tektronix WVR measuring devices and corresponding hardware panels to control the grading software. Amidst all the colors, of course, we never lose our orientation in the environment, which is kept neutral-white according to IRT recommendations.

The future is already here - we already correct 4K in all variants. Among other things, our 30-inch Sony BVM- X300 and a 4K OLED monitor help here, which meet the highest quality standards in the reference class. Nothing shows true colors more. An escape for starting material and a blessing for future material

Benefit from our experience in editing and delivering dynamic HDR versions of your movie right now. At the same time we deliver optimized SDR versions and all this in an efficient workflow.

Equipment

  • Digital Vision Nucoda FilmMaster Color Grading System
  • DVO Noise-Reducer

  • 30 Zoll Sony Trimaster OLED Monitor

  • Tektronix WVR Measuring Devices
  • 4K-compatible including HDR, HFR or BT.2020

Clear accents -
lasting impressions

Grading & Dolby Vision Workflow
Significant emphasis - lasting impressions. We create looks and atmospheres for the right mood and unique viewer impressions. By the way, this also applies to your old treasures in the archive.

The Dolby Vision Workflow

5 steps to your ideal HDR and SDR version

In each production the data to be delivered and the best possible quality of your work play the central role. Currently, groundbreaking new formats and quality levels of film that revolutionise the film experience are already in the door, such as dynamic HDR and UHD.

Storytelling redefined

High Dynamic Range (HDR) in particular provides an image reproduction that is even closer to reality by combining the high contrast images with an extended colour space. These can already be output dynamically - sequence by sequence - and optimised for each end device. This is as significant a change as the transition from SD to HD and from black and white to colour. This heralds a new era in cinematic storytelling.

At the same time, SDR versions are still essential for standard transmission. Therefore an efficient and flexible workflow is mandatory for every production.

If you want to learn more about HDR and Dolby Vision, you can read about it in our article "What filmmakers should know about HDR and Dolby Vision".

We at Magenta TV offer you what we think is the most efficient way to provide optimal HDR and SDR versions of your film and to deliver the data your production needs. Thereby we always have your cinematic requirements in mind.

As the first Dolby Vision certified company in Germany, we could already prove this from postproduction and mastering up to encoding and delivery. In addition, we could complement the workflow with our collected practical experience.

The goal is to deliver a result from the color correction (grading) that does fulfill your cinematic ideas. During the mastering process, up to 6 variants should be provided in one workflow, which can go "on air" without headaches or be ready for further processing.

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.

Of course, you can also benefit from our infrastructure already during the editing. Just book one of our edit suites and bring your favourite editor with you if you wish. Central, synchronized working, short distances between color correction and sound studio as well as a render farm for encoding are at your disposal.

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.

Summary

For directors, producers and other filmmakers, the dynamic HDR offers enormous new possibilities to narrate the story. This can be done sequence by sequence as well as cross-platform. 


The Dolby Vision workflow offers a very efficient way to make your work available for both dynamic HDR and optimized for SDR. Furthermore, different titled and/or synchronized versions can be created with a moderate amount of work.  

Future-proof solutions in post production

For more than 40 years we have been making productions fit for broadcasting. Whether in color correction, editing or mastering. We have an eye for the stylistic elements of your work as well as the passion and know-how to sharpen your cinematic expression. We are always technically up to date.

Always with the goal, to save your time, reduce your costs and deliver your film in best possible quality.
 
Do you have any further questions?  Then simply get in touch with us.





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