COLORFRONT ON-SET DAILIES & EXPRESS DAILIES 2017 VERSIONS DELIVER MORE RAW ON-SET POWER AND UHD/HDR VERSATILITY
NAB 2017, Las Vegas, April 24, 2017 – Colorfront (www.colorfront.com), the Academy and Emmy Award-winning developer of high-performance, on-set dailies and transcoding systems for motion pictures, high-end episodic TV and commercials, will showcase the 2017 versions of its best-selling Express Dailies and On-Set Dailies systems for Ultra High Definition (UHD) and High Dynamic Range (HDR) image-processing, during NAB 2017.
Express Dailies and On-Set Dailies have proven perennially popular in on-set workflows, and continue be used across a wide range of feature and episodic TV shows, including: Blade Runner 2049 (Warner), Atomic Blonde (Universal), Star Trek Beyond (Paramount), Game Of Thrones – Season 7 (HBO), She's Gotta Have It (Netflix), Bill Nye Saves the World (Fox), Avengers: Infinity War (Marvel/Disney), Robin Hood: Origins (Lionsgate), Spider-Man: Homecoming (Sony), plus a range of Amazon Studios’ titles including The Tick, Red Oaks, The Grand Tour, Bosch – Season 3, and The Man In The High Castle.
Express Dailies and On-Set Dailies are both built on Colorfront Engine™, the state-of-the-art, ACES-compliant, WCG/HDR-managed color pipeline, which enables creative, on-set look creation, and ensures the color integrity of UHD HDR dailies/deliverables, with associated metadata, through the entire camera-to-post chain. Colorfront On-Set Dailies 2017 retains its fully-flexible node pipeline, offering unlimited outputs, while Express Dailies 2017 allows rendering of up to four concurrent deliverables – a key differentiator between the two products.
New for 2017, customers can take advantage of flexible licensing options, which sees Express Dailies 2017 available as a Windows version for the first time on HP Z840 workstations, as well as the latest MacBook Pro platform. On-Set Dailies has always been available for Windows and Mac. Both 2017 systems support Tangent’s recently-released, cost-effective Ripple control panel.
Colorfront Express/On-Set Dailies systems already deliver real-time support for all major RAW UHD HDR formats from the latest digital cinematography and DSLR cameras from ARRI, Sony, Canon, RED, Panasonic, Go Pro, Blackmagic and Phantom. These are now further extended to encompass: Panavision’s DXL 8K large-format camera; RED Weapon/Helium 8K R3D (de-Bayered to 4K or below), plus RED WideGamutRGB and Log3G10 color options; Canon’s C700 RAW, Cinema Gamut and Log2 options; Panasonic VariCam VRAW; Sony’s X-OCN ST and LT compressed RAW codecs for F5 and F55; ARRI Alexa 65 RAW and Alexa Mini RAW MXF; improved Blackmagic lossless JPEG CinemaDNG; and enhanced 12-bit DPX.
Express Dailies and On-Set Dailies 2017 are optimized for fast encoding to the widest range of UHD HDR dailies, editorial and web deliverables. Output support has been broadened to include: all Avid DNxHD formats, including DNxHR HQX and DNxHR 444; High Efficiency Video Codec (HEVC) in HDR10 with ST-2086 metadata, and HDR output with variable HLG and ST-2084PQ for display calibration using MaxFALL/MaxCLL values; Apple ProRes wrapped in Quicktime; and also MXF, MPEG4 H.264, PIX, DAX, uncompressed DPX, TIFF and OpenEXR formats. Image analysis tools include HDR waveform monitoring, Rec709 and Rec2020-P3 Wide Color Gamut vectorscope.
Key workflow advances for both systems are the support for Netflix Production Cloud and Colorfront Cloud Services, which can enhance productivity through the rapid upload of camera originals, proxies and metadata and the efficient sharing, management and delivery of assets to production stakeholders, such as production, editorial and VFX.
The improved CopyCentral facility enables users to perform/automate a range of key tasks, such as fast xxHash checksum verification with fully-featured Media Hash List (MHL) support, and back-up to up to three concurrent LTFS LTO-tapes. Colorfront has boosted the audio handling capabilities of both systems with full support for embedded audio, new audio mix-down and level metering tools, plus enhanced embedded audio tools for WAV broadcast audio, stereo and multi-channel.
“Colorfront On-Set and Express Dailies 2017 continue to set the technology agenda for processing the latest UHD HDR camera, color, editorial and deliverable formats used in digital cinema, high-end episodic TV and OTT production,” said Aron Jaszberenyi, managing director of Colorfront. “Directors, producers, cinematographers and DITs can review original camera material in HDR on-set, rather than having to wait until post-production, with the reward of significant time and cost-cutting efficiencies.”
During NAB2017 Colorfront systems will be shown at the following partner booths: AJA #SL2505, Canon #C4325, Dolby #SU1702 and Panasonic #C3607, as well as at ALT Systems in the Renaissance Hotel’s Presidential Suite.
For more information:
Ron Prince, Prince PR
Tel: +44 7802 447 484
Colorfront is headquartered in Budapest, Hungary, with offices in Los Angeles, plus sales partners worldwide. The company’s popular, award-winning on-set dailies and transcoding systems are utilized by small, medium and large companies alike, to process and deliver media for Hollywood blockbusters, high-end episodic TV and OTT internet entertainment. The firm was founded in 2000 by Mark and Aron Jaszberenyi, who were instrumental in the advent of non-linear DI color grading. Combining in-depth expertise in image color science with a pedigree in cutting-edge software development, the company's R&D team earned an Academy Award in 2010 for Lustre, Autodesk's DI grading system, and a Primetime Engineering Emmy in 2012 for Colorfront On-Set Dailies. Colorfront has since become renowned for the innovation, excellence and performance of its camera-to-post products, which include On-Set Dailies, Express Dailies and Transkoder. The company has leveraged its technology to successfully offer Colorfront Cloud Services, and also owns and operates a state-of-the-art DI and post-production facility, of the same name, in Budapest. www.colorfront.com