Easydcp Creator 2.2 has some new features:
Support for Closed Subtitles/Closed Captions and Open Captions
Feature to preview and burning the subtitles directly into the image content
New work-flow for activating the software within minutes
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.
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.
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.
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.
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.
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.
2.4 is the recommended gamma for HDTV monitors in the new ITU-R BT-1886 recommendations Link:ITU-R BT-1886
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.
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.
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
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 this post
0.48657095 0.26566769 0.19821729
0.22897457 0.69173852 0.07928691
0 0.04511338 1.04394437
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.
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.
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.
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 be fitted. SMPTE EG 432-1-10 has more info on how to get the transformations to fit.
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.