4096 pixels.
4k is a generic term describing any number of digital picture frame sizes 4096 pixels wide. The image height depends on the format aspect ratio, i.e. 4096 x 2300 in 1.78 aspect ratio.
4k total pixel count is four times higher than the pixel count of comparable 2k image.
The name is derived from the abbreviation of SI prefix “kilo” meaning one thousand.
International Telecommunication Union.
ITU is a Geneva based United Nations agency in charge of establishing worldwide communications standards.
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This tool converts Avid Media Composer markers (locators) to a web based document for client online review. It also converts markers to subtitles that can be loaded back into Media Composer, Symphony or DS.
Select a Media Composer marker file:
This online tool generates an EDL (Edit Decision List) of arbitrary length and frame rate. Such a list can be used for an edit or color correction system conform stress tests. For example, you can test the software’s ability to handle a very high number of events or the ability to log a very high number of source reels.
Use EDLodd tool to remove all even events from an EDL and notch a contiguous clip in Avid DS as described in EDL notching video tutorial.This method is best used for file based source material. Notching of tape based material can be accomplished via DS EDL Tool.
The Power Point presentations for two Color Management workshops presented by Igor Ridanovic at 2013 Entertainment Technology Expo in Burbank, California are available for download below.
Introduction to Color Management for Film and TV
Media Composer 7 Color Management (LUTs)
Introduction to Color Management for Film and TV
The proliferation of file based camera formats over the last decade has introduced entirely new color management concepts into a once straightforward editorial color pipeline. Color management has been around in a simpler form since the dawn of television, but it’s been hidden from sight until recently.
This introductory level session covers the basics of color management and LUT concepts for post production and demystifies the subject in a straightforward way by looking at the fundamentals not tied to any particular software. Instead of focusing on math behind the color, we will use simple nontechnical analogies drawn from our everyday visual experience.
Attendees will gain an understanding on how to maintain cinematographer’s or graphic designer’s color intent all the way through post production process so they may achieve higher color uniformity.
Media Composer 7 Color Management (LUTs)
Video and file based capture to Media Composer has been straightforward for a long while. However, many of the recent camera formats record picture with gamma and color spaces that do not fit within the traditional Rec. 709 or sRGB capture methods.
Assistant editors have been increasingly required to capture material from such non-Rec. 709 compliant file sources sometimes resulting in a less than satisfactory color appearance. With Media Composer version 7 Avid has introduced LUT (lookup table) support to address many common digital camera formats and ensure consistent color reproduction during the editorial stage.
In this workshop editors and assistant editors will learn how to correctly maintain the color intent when capturing or AMA linking the new camera files. Attendees will also refresh the legacy graphics capture and the basics of built-in scope operation.
Media Composer version 7 has unrolled some important new features required for proper handling of the high end digital camera formats.
While AMA linking has allowed us to play back original camera files without time consuming import in the previous versions of Media Composer, the version 7 introduces a whole new way of dealing with color and 4k and larger geometry when working with cameras such as Arri Alexa, Sony F65, Canon C300 and others.
These are important developments because Media Composer is the number one NLE platform for productions that require collaborative workflow. Any show that requires multiple editors working together, which is what most TV episodics and feature films need, is dependant on Media Composer as the tool of choice. Assistant editors are increasingly requested to prepare dailies from the new camera formats for use in Avid Media Composer. Often these cameras do not record in the HD Rec.709 color space producing flat looking picture when imported to Media Composer or any other NLE without a correct color transformation.
The notable new tools that make the assistant editor’s job easier in Media Composer 7 are CDL and LUT support, FlexFrame, background transcoding and AMA media management We’ll look at the LUT support in Media Composer which has the most immediate impact on high end camera support.
AMA or Avid Media Architecture is technology responsible for real time linking to file based clips. Of course, file based media can also be imported using the legacy import option. Any AMA linked file based media can also be transcoded to Avid DNxHD MXF media at any point after the linking.
The choice is yours, AMA linking works very well, but it is important to note that native DNxHD media puts less strain on the CPUs and is time tested for collaborative workflows using Avid Unity or ISIS. AMA support is based on plugins supplied by camera manufacturers. To see which plugins are available on your system, open the Media Composer console with Command+6 or CTRL+6 and execute AMA_ListPlugins command.
Whether the media is imported or linked in Media Composer 7, there is a high likelihood that color is automatically interpreted correctly. To verify this, select the fast menu in the lower left corner of the bin containing the camera clips and pick “Chose Columns.” In the columns dialog select “Color Space” and “Color Transformation” headings. If the clips display camera or color space specific information in the bin under “Color Space” and a transformation under “Color Transformation” headings, it is likely that the new color management system in Media Composer 7 has taken care of the conversion for you and no further action is required.
Sometimes the color space metadata in the clips may be incorrect or missing. In such case Media Composer’s color engine will not know how to interpret the clip color and you have to help it a little. Multiple select the clips that need a color transformation, right click and select “Source Settings.”
The LUT selection dialog will open. Use the dropdown menu at the top to select the camera model or color space your clips are using and press the “Auto” button. Click on the “Apply to All” and exit the dialog. The new LUT selection will take effect.
If the clips have been cut into a sequence prior to the LUT assignment, the new color will not take effect in the timeline until you right click the sequence, pick “Refresh Sequence” and select the Color Adapters option.
The new color dialog also allows you to import standard 1D and 3D LUTs that are not provided with the AMA plugins. An example of this would be a custom LUT created on the set by the DIT for the purpose of conveying a specific look. The third party LUT could also be used for a camera format or color space not specifically supported via an AMA plugin.
Whatever the source may be, the new color management in Media Composer 7 allows you to interpret the color correctly so the cinematographer’s intent is not compromised during the editorial stage.
But that’s not a bad thing. Avid’s big NAB 2013 announcement is what many users have been requesting for a while–the product lineup simplification.
The difference between Avid Media Composer and Symphony editors has been minimal over the years.
Symphony featured a more robust color corrector with secondaries. This simple but important difference has been erased with the upcoming release of Media Composer 7 where Symphony will be a fee based option, not a separate product.
Pricing and the Shipping Date
Media Composer 7 to be available for download in June 2013. Media Composer and Symphony 6.5 purchases after April 7th 2013 qualify for free version 7 upgrade. Customers must register their software and retrieve the V7 upgrade code by the end of June 2013.
The regular Media Composer price is $999. Upgrades from older versions start at $299. For the final time, Avid will allow upgrades from from any version of Xpress DV or Xpress Pro to Media Composer 6.5, as well as upgrades of Meridien, Adrenaline or Mojo SDI hardware to a Media Composer Mojo DX system for a 53% saving or to a Media Composer Nitris DX system at a 40% discount.
And don’t expect to purchase a box with a DVD inside. Media Composer will be delivered as a software download only, with a $99 optional USB thumbdrive if purchased at the Avid store. Product boxes purchased from authorized dealers will come with an activation card with a download code redeemable for an Avid System ID.
New Features
However, cleaning up the product line isn’t the same as innovation. There are actually interesting new features in Media Composer 7.
AMA Media Management
AMA functionality allows transcode-free playback of many common media types. AMA files have not been subject to Avid’s powerful media management until now. This means that the life of Edit Assistants working on complex TV shows using thousands of AMA based files will be greatly simplified.
Dynamic Media Folders
Avid Media Management works well, but in prior versions of Media Composer any media management functions like consolidate or transcode would inevitably lock out the NLE during media processing. Dynamic Media Folders allow background media operations to take place while Media Composer is still available for editorial work.
Frame FlexTM
Will allow use of 2k-5k footage in the sequence with real time color space conversion, although the sequences are still limited to maximum resolution of 1920×1080.
LUTs and CDLs
Media Composer 7 supports 1D and 3D LUTs and CDLs.
There is quite a bit more like XAVC HD AMA plugin, independent clip gain, OSX Mountain Lion, and Windows 8 support. One of the best understated new features is cached audio waveforms. Anyone who has spent five minutes waiting for Media Composer to unlock while waveforms are generated will appreciate this one.
It’s like a release print.
DCP (Digital Cinema Package) is a file package that contains all picture, sound and metadata files necessary for digital theatrical exhibition of a motion picture. Although far more complex and functional than a release print, a DCP is analogous to a traditional 35mm release print.
Added digital features a DCP may contain are encryption keys, exhibition expiration date, multiple language subtitles and audio tracks, multiple market versions, etc.
