Easydcp player 2.0 with support for variable quality settings, Supplemental packages, SMPTE subtitles and HD-SDI

New features in Easydcp player 2.0

Link: Easydcp player tutorials

Burn in subtitles when exporting.

Drag and drop

Playlists
You can make a playlist of films. You can save playlists. You can loop playlists.

Supplemental packages,
Most localized DCPs have the subtitles as supplemental packages that adds subtitles or sound to the original DCP,
these can be loaded together with the main DCP so you can play the DCP with subtitles and different sound.

Variable quality settings
You can move a Quality slider until you get a reasonable FPS playback level.
You can lower the quality of the playback without it being noticeable. Example: It will use 10 bit processing instead of 12 bit processing.
I tried this on a Quad core Mac Mini and I could play back different DCPs without lowering the quality slider much.

SMPTE subtitles
Easydcp player 2.0 now support SMPTE subtitles.

Customizable color transforms
You can edit the color transforms to fit your monitor/projector.

HD-SDI and HDMI out

The Ultrastudio 4K has 2K HD-SDI out

Playing the DCPs through HD-SDI can get you closer to the quality of HD-SDI digital cinema servers.

With HD-SDI you can output the DCP in the same frame rate as the DCP (like 24 or 25 FPS) and in 2K resolution.
If you connect the HD-SDI to a digital cinema projector you can send it a clean signal with subtitles, but without color transform and let the projector do the color transform.

Tests:

Quad core 2.6 Ghz Mac mini
I used a quad core Mac mini to play a DCP without color transform enabled (but with subtitles) through the HD-SDI (HD) output on the Ultrastudio mini monitor.
It worked with the quality slider almost at the top. This will vary with the source. Films with film grain are more difficult to decode than video films.
With both color transform and scaling to HD enabled you need a more powerful computer/graphic card.

The Blackmagic HD-SDI device should be used as the 5.1 sound card. I got 5.1 sound from the HD-SDI output, but only 2 channels from the HDMI output connected to a receiver.

To get 5.1/7.1 sound from SDI you can use a SDI to (AES 8 channels) audio de-embedder:

Blackmagic Design Mini Converter SDI to Audio 4K

With a sync test DCP you can adjust the sync with the +/- Sound Latency settings.

Computer with CUDA GPU JPEG2000 decoder
Resources: manual and the FAQ

You can use a PC with the CUDA JPEG 2000 decoder and a Decklink HD-SDI card.

To use the CUDA GPU JPEG2000 decoder you need an extra GPU, you can use a Geforce 570 card or better.

4K?
You can watch 4K through the graphics card, but you need a powerful computer to play 4K DCPs in 4K resolutions

link: Fraunhofer Test chart

The Decklink 4K and Ultrastudio 4K support 4K through HDMI or 3G HD-SDI, but Easydcp player only support 4K output through a video card.

Easydcp Creator 2.2 with customizable color transformations and support for ALEXA/P3 workflows

Easydcp Creator 2.2 has some new features:

Support for Closed Subtitles/Closed Captions and Open Captions

Extended Pillar-/Letterboxing

Feature to preview and burning the subtitles directly into the image content

New work-flow for activating the software within minutes


link:Fraunhofer online tutorials

Extended Pillar-/Letterboxing
All the reels need to be the same resolution in a DCP. if you have a logo in HD and the film in Flat, you can choose to enable Flat pillar-boxing on the Logo.

You can choose between full container, automatic, flat or scope.

Automatic
This setting add pillar-boxing and letterboxing automatically.

You can add the original aspect ratio in the name of the DCP Digital naming convention. Example: 16/9 = F-178 or 4/3 = F-133

Most cinemas only have Flat or Scope settings for side masking, but for those cinemas that have manual side masking they can set them correctly.

Full container
If you know a cinema has a full container preset on their projector you can make a DCP with a mix of scope and flat films without scaling with this setting.

Flat
Useful when fitting scope material inside a flat DCP. Useful when making Trailers in both scope and flat format.
Also useful when combining scope and flat films inside a flat DCP.

Scope.
Does not fit flat inside scope, it crops letter-boxed sources to fit inside the scope container. This is useful when using XML subtitles that are shown 10 percent from the bottom of the container.

Burning in subtitles.
You can burn in the subtitles.
You can also see a preview of the subtitles in the preview window.
25 FPS DCPs with burned in subtitles are compatible with some old digital cinema servers.
If you are making both 25 and 24 fps versions, you can first make the 25 fps version and then use the same file in the 24 fps version.

Drag and drop
You can drag mxf files and DCPs to the asset list.

Audio silence:
You can mark audio channels with a silence button instead of using blank audio files.

Other new features

Customizable XML color transformation files
You can choose your own color transformation using custom 3×3 matrix transformation and custom gamma values.

There are two transformation XML files included:
BT.709 with 2.2 gamma
P3 DCI 2.6 gamma.

Change gamma in the rec709 transformation
You can copy the rec.709 transformation to a new file and change the gamma function value in the XML file to suit your workflow.

Here are some examples of gamma function values:

1/2,2=0,45 (simplified 2.2 gamma)
SRGB monitor gamma and commonly used on HDTV monitors.

1/2.4=0.416666666
2.4 is the recommended gamma for HDTV monitors in the new ITU-R BT-1886 recommendations Link:ITU-R BT-1886

1/2,6=0.384615385
The same gamma as DCPs.

Can video display or “emissive” monitors be used for Digital Cinema mastering? Pines touched on the Stevens effect (that perceived contrast decreases at lower luminance), Hunt effect (that perceived colorfulness also decreases at lower luminance) and display flare characteristics. “The same content has to look good in a normal surround (office), dim surround (living room) and dark surround (theatrical),” said Pines.

Reference Monitor Symposium

Example
You want to use rec.709 2.6 gamma. You use a gamma function value of 0.384615385.

Changing the normalization constant multiplication
To move away from the edge of the color space you can lower the number of the white projector luminance

You can change the P3 DCI 2.6 gamma transformation to P3 D65 and P3 D55 by changing the 3×3 matrix
There are P3 D65, P3 D55 and other NPM 3×3 matrix examples in SMPTE EG 432-1-10.

Example
You want to convert a 16 tiff RGB sequence from Resolve that has a
C-log to P3 D65 3D LUT or
C-log to P3 DCI WHITE 3D LUT
applied.
Link:Arri lut generator

To convert it you use the standard Easydcp P3 DCI WHITE XML transformation

or make a custom P3 D65 transformation

with this NPM from this post

0.48657095  0.26566769  0.19821729
0.22897457   0.69173852    0.07928691
0                           0.04511338    1.04394437

More info

With the P3 D65 workflow you can:

-First use the C-Log to Rec709 3D LUT on a rec709 monitor (D65)

-move to a P3 2.6 gamma D65 projector and and view it using the C-Log to P3 D65 3D lut.

-Then make the DCP in Easydcp with the custom P3 D65 transformation.

 

White point targets white values:

REC 709 D65 projector White = 4095,4095,4095 at 14 fL
In DCDCM X’Y’Z’ D65 is 3883, 3960, 4092 at 14 fL

P3 D65 projector White = 4095,4095,4095 at 14 fL
In DCDCM X’Y’Z’ D65 is 3883, 3960, 4092 at 14 fL

P3 DCI WHITE projector=White 4095,4095,4095 at 14 fl
In DCDCM X’Y’Z’ DCI WHITE is 3794, 3960, 3890 at 14 fL

You can adjust the normalizing constant variable to be within these targets.

Notes:
The white in the film you are making do not have to be D65 or DCI WHITE, you can use any creative white you want to.

The P3 primaries are wide-gamut relative to desktop standards; pure sRGB red is relatively desaturated with a distinctly orange-red hue, while pure P3 red is blood red, almost on the spectral locus. The DCI white point is not necessarily the creative white point used in mastering. Productions are free to master to any white point they prefer, provided all mastered colors falls within the allowed DCI gamut. Indeed, for artistic considerations the (0.314, 0.351) white point is often avoided due to its greenish cast relative to the daylight curve.

– Visual Effects Society: White paper: Cinematic Color: From Your Monitor to the Big Screen

DCDCM X’Y’Z can have D65, D55 and DCI WHITE white points at 14 fL. Source: SMPTE RP 431-2:2011

The Disney test image DCP that is shown in the background of this picture from this post has DCI WHITE in the middle and D55 and D65 white squares: All of these are at 14 fL.

You can also calculate NPM 3×3 matrixes yourself by applying the math in SMPTE RP 177 / SMPTE EG 432-1-10 to the primaries and reference white point of the mastering projector native color space. (See this post)

P3 with other white points than D65, D55 and DCI White could make the DCP go out of gamut. Larger color spaces than P3 will not fit and need to have some gamut mapping. SMPTE EG 432-1-10 has more info the math used.


These color transformation can also be saved as 3D LUTs in Nuke and applied in Resolve, After Effects and Fraunhofer Easydcp.
See this post for more info.

The Blackmagic Pocket Cinema Camera 4K. Is it a good choice for low-budget digital cinema filmmakers?

Updated 2018: (for the Pocket 4K)

Will the Blackmagic Pocket Cinema Camera 4K be a good choice for DCP format productions? (will be released in september 2018)
How does the specifications compare to other cine cameras and the DCP format used in cinemas?

Links:
Blackmagic Pocket Cinema Camera 4K Spec sheet
Blackmagic Pocket Cinema Camera webpage


B&H Photo link

Price with Resolve studio license = USD 1295

13 stops of dynamic range. Dual Native ISO to 25,600.

It can record in 12 bit cinemaDNG  RAW 4096 x 2160 270 mbit.
12 bit raw gives you more information in the important darker areas than in the brighter areas of the picture.

This is similar to digital cinema DCPs that use 12 bit 2.6 gamma encoding which also gives you more range in the important darker regions of the picture.

2.6 gamma 12 bit preserves more dynamic range and shadow detail than 8 bit 2.4/2.2 gamma videos.

270 mbit in 4096 x 2160 CinemaDNG RAW 30 FPS 
337.5 mbit CinemaDNG RAW 24 FPS is similar to the DCPs which uses 250 mbit intraframe jpeg2000 encoding.

-250 mbit jpeg2000 is good for film grain/preservering high ISO noise, fake film grain or added noise, but it still can have problems with fog and smoke compared to uncompressed.

-Cinematic 25P/24P 180 degree shutter mode.

Resolution
-DCI 4k 4096 x 2160
-DCPs uses these standard resolutions:
2K Flat 1.85: 1 1998×1080
2K Scope 2.39:1 2048×858
4K Flat 1.85: 3996 x 2160
4K Scope 2.39: 4096 x 1716
-Getting the resolution correct is important.
-Flat and Scope are the standard presets in all cinemas.
-1.78:1 (16/9) and 2.35:1 films can get image artifacts (trapezoid shape) in the cinema because the standard side masking presets are made for 1.85 and 2.39. The trapezoid shape is caused by off-axis/tilted projectors. It is not allowed to use keystone in cinemas so digital cropping/masking is used to adjust the picture to the side masking.
-Scope films are projected wider than Flat films in a common height cinema.
-A 4K DCP is compatible with both 2K and 4K projectors.
-Full container (C) 2048×1080/4096×2160 is not used by Hollywood feature films. Films made with these resolutions will probably be in Flat with cropping on the sides at most cinemas
-I recommend using framing lines for 1.85 and 2.39 when making a digital cinema film. Blackmagic cameras usually have framing lines for these aspect ratios.

 

Frame rate
Up to 60 FPS in 4096 x 2160.  120 FPS in HD windowed

-Interop DCPs uses these frame rates: 24, 48
-Digital cinema equipment with updated software support SMPTE DCPs and can play these 2K frame rates: 24, 25, 30, 48, 50, 60, 4K frame rates: 24, 25, 30
-In Europe where many productions are 25 FPS = 25 SMPTE DCPs are common.

You can record in 60 FPS and 120 FPS if you want to use slow motion.

 

M43 FOV

The Arri Alexa SXT and other cine cameras often uses a super 35 sensor. The 4K Pocket camera has a M43 size sensor, but there is a lot of cine primes made for the M43 sensors on the GH4 and GH5 and similar cameras. There are also MFT adapters for PL mount and other common Super 35 lens mounts. The M43 sensor is smaller than S35 so all S35 lenses can be used.  The m43 sensor will probably not be as light sensitive as the sensor on the super 35 sensor camera Arri Alexa SXT , but it will be better than the S16 sensor on the first Pocket Camera.

The abelcine.com FOV comparisor does not yet have the Blackmagic Pocket 4K camera,  But it will probably be similar to other M43 sensor cameras like the GH5.

The MFT  Pocket Camera can use a Metabones speedbooster to almost achieve the FOV of a super 35 mm sensor.

3D LUT SUPPORT
-Pocket 4K REC2020 HYBRID LOG GAMMA
-KODAK 2383 EMULATION
– and more

-It has Pro audio mini XLR connection with phantom power.

The Pocket 4K camera has similar specifications as some of the 4K cameras that are approved by Netflix

The Pocket 4K camera compared to other cameras
The Panasonic GH5
Link: B&H Photo

-VLOG
-DCI 4K
-400 Mbps 4:2:2 10-bit All-Intra video internal recording
-Anamorphic mode
-HLG-HDR

The Panasonic GH5s
Link: B&H Photo
-Better low-light performance than the GH5
-VLOG
-DCI 4K
-400 Mbps 4:2:2 10-bit All-Intra video internal recording
-Anamorphic mode
-HLG-HDR

The Sony A7S II
Link: Sony

-Slog 3 capture in 8 bit XAVC-S.
-PAL/NTSC
-Good low-light capture
-Internal UHD capture
-Full frame
-Super 35 mm mode
-120 FPS 1080 mode
-Big sensor

Other digital cine cameras:
Shogun Inferno Prores Raw Cameras:

https://www.atomos.com/shogun-inferno

Sony FS5 II ProRes RAW Atomos Kit
Link: B&H Photo
-super35 sensor
-internal ND filters

Canon C300 MKII
Link: Canon
-Good in low light
-XLR inputs
-DCI 4K
-Canon LOG 2 Gamma

Panasonic AU-EVA1 Compact 5.7K Super 35mm Cinema Camera
Link: Panasonic
-5.7K super 35 sensor
-Dual native ISO of 800/2500

More Expensive/Rentals

RED DSMC 2
Link: RED
-5-8K
-High frame rate

Arri Alexa SXT  and Alexa LF
Link: Arri
– wide gamut and pre-made 3D LUTs to convert C-Log Prores or RAW footage to Rec. 709, P3 DCI, P3 D65.
-WCG (Wide Color Gamut) is rec2020 compatible

Panasonic Varicam LT
Link: Panasonic
-Dual native ISO,  800 and 5000
-Super35
-DCI 4K prores 4444
-1 to 120 fps in AVC-Intra 2K422 and from 120 to 240 fps in AVC-Intra 2K-LT

Sony F65
Link: Sony
-Super35
-DCI 4K
-Global Shutter


Some notes on the “Hollywood” look

The “Hollywood” Cinema look
-I have worked on a lot of short film festivals and it is usually the film that has the best story/artistic vision that win the award/get noticed. Technically best is not an award category.
-Having a good looking film can help. Having a look that is different than others can help.
-If you live in a city that have a cinema that screen 35 mm print or DCPs correctly, watch a lot of films at that cinema.

Hollywood look: Anamorphics
-Hollywood films are often shot with the Arri Alexa SXT cameras that can use 2X anamorphic film optics in 6:5 sensor mode mode.
The Pocket 4K can use M43 anamorphic combo 1.33 kit like the SLR magic anarmopics kit, but is it difficult to achieve the same results as a big budget movie.

Hollywood look: Fast cine prime lenses with shallow depth of field.
-Hollywood films often use fast cine prime lenses near open aperture to get shallow depth of field and bokeh.
-You need to use ND filters to get a shallow depth of field on a sunny day.
-With adapters the 4K Pocket can use Super 35 mm film optics like the Cooke primes and other cine prime lenses that have a “Hollywood” look.

Hollywood look: Warmer white
-Hollywood films seldom use clipped/blown whites if that is not what they intend to use.
-100 percent white is almost never used.
-White is usually warmer than video monitor white (D65), it is closer to traditional film projection (around D60).

Hollywood look: 180 degree shutter
-Hollywood films almost always use a 180 degree shutter. Films with 360 degree shutter have a lot of motion blur. The Blackmagic cameras lets you choose 180 degree shutter mode.

Hollywood look:Conclusion
A film made with a cheap camera and cheap lenses using ND filter, 180 degree shutter, shallow depth of view and grain/noise can look more like a Hollywood film than a film with made with an expensive camera that has a “made for TV” look.

More info:
Cine Lenses
-are built for manual focusing with follow focus systems
-zoom lenses often lack “breathing” when focusing
-Prime lenses often come in matched sets

Cine lenses ( can be used with a PL adapter)
Cooke 25mm T2.8 miniS4/i Cine Lens
B&H Photo Link

Cine lenses (MFT mount)
Veydra 16mm T2.2 Mini Prime Lens
B&H Photo Link

SLR Magic 25mm T0.95 HyperPrime Cine III Lens and Anamorphot-40 1.33x Anamorphic Adapter Kit (MFT
B&H Photo link

Focusing with just about any still photo zoom lens will create a breathing effect that is simply an optical design characteristic. There is no adjustment for this flaw within the lens. It’s part of the optical-mechanical design and is taken into consideration during the development of a lens. Breathing is a bad thing in cinema because it really pulls the audience out of the scene. It changes the field of view of the lens and appears as though the lens is zooming in and out during even a small focus pull. This is why cinema lenses are designed not to breath and add substantially to the cost in order to do so.

Duclos: Why Cinema Lenses Cost So Much

Used lenses
KEH and ebay sells used lenses like the Zeiss Contax lenses
Link to contax lenses at keh

If you build a set of Voigtlander Nokton, Zeiss Contax, Leica R, Nikon Ais or Zeiss ZF.2 lenses, you can do the Duclos Cine-mod on them.

For USD 250 each you get:
-80mm front with cap,
-focus gear
-de-clicked, damped aperture movement. Or USD 60 for just the declicked aperture.

5) What lenses work best with the Cine-Mod?
The lenses that benefit from the Cine-Mod the most would be Zeiss ZF.2 lenses and Leica R series lenses. Other lenses such as the older Nikon Ais series and Zeiss Contax lenses can also be used along with the Cine-Mod for cinema with great success.

http://matthewduclos.wordpress.com/cine-mod-faq/

 

Extra equipment

ND filters
For shallow depth of field in daylight.

ND filters and matte boxes:
Redrock Micro microMatteBox Deluxe Bundle
B&H Photo link

LEE Filters 100 x 100mm Big Stopper 3.0 Neutral Density Filter
B&H Photo link

Professional shotgun microphone
Sennheiser MKH416
B&H Photo link

Cheaper shotgun microphone
Rode NTG2
B&H Photo link

Field Mixer
Sound Devices 633 6-Input Compact Field Mixer and 10-Track Digital Recorder
B&H Photo link

Cheaper external recorder
Zoom H6
B&H Photo link

 

Electronic Viewfinder
Zacuto Gratical HD Micro OLED EVF 
Viewfinder with 3d lut support
B&H Photo link

 

Useful links:
Use this Angle of view/Field of view comparator to compare the field of view (FOV) on different sensors and find what kind of lens you need.
https://www.abelcine.com/articles/blog-and-knowledge/tools-charts-and-downloads/abelcine-fov-tool-20

Film grain and stock emulator software
Filmconvert

Contax Zeiss Survival Guide
Nick Morrison reduser.com forum post

What is Angle of view/Field of view?
http://en.wikipedia.org/wiki/Angle_of_view

What is depth of field?
http://en.wikipedia.org/wiki/Depth_of_field