Graph Viewer in Colorfront Web UI
Colorfront’s Web user interface has been updated to version 1.8 In this update, there is a new Graph Viewer for checking the results of Light Level Analysis or Video Compare form renders. Click on the graph icon in the detailed view of a render job to open the graphs.
Graph icon in the Details panel of a render job
The Graph Viewer has five views showing:
You can specify a maximum threshold in the viewer so that any values above this custom threshold are highlighted (in red), and the threshold error is displayed in frames. The default threshold is 1000 nits. If the max points marker is enabled, the average and maximum light level error points are indicated by red lines.
Selecting from graph views
Indicating threshold error
Graphs, which can be line or histogram types, can be zoomed in or out.
If the media path is available in the log, a player appears on the right to the Graph Viewer, showing the footage.
Click the Markers icon to add QC or reel markers to the graph as follows:
Adding markers to the graph
Color Indicators for Validation Result
As a new feature, validation success, warning and error results appear as colour keywords in the Validation Summary View, when you click the validation result icon in the detailed view of a validation render job.
Clicking the validation result icon on the Details tab
Colour keywords for validation success, warnings and errors
HDR10 Sidecar Metadata
HEVC and ProRes encoders can optionally generate a metadata sidecar file. Five HDR10 presets are available in the new SIDECAR FILE parameter on the Render Page, but the user can add more. These sidecar files are generated based on user customisable templates stored under the … OSD2022\user\sidecar_templates\ folder.
HDR10 sidecar metadata generation for ProRes and HEVC encoders
<?xml version = "1.0" encoding = "utf-8"?>
<asset media_type = "video">
<attribute name = "hdr.red.chroma.x">0.68</attribute>
<attribute name = "hdr.red.chroma.y">0.32</attribute>
<attribute name = "hdr.green.chroma.x">0.265</attribute>
<attribute name = "hdr.green.chroma.y">0.69</attribute>
<attribute name = "hdr.blue.chroma.x">0.15</attribute>
<attribute name = "hdr.blue.chroma.y">0.15</attribute>
<attribute name = "hdr.whitepoint.chroma.x">0.3127</attribute>
<attribute name = "hdr.whitepoint.chroma.y">0.329</attribute>
<attribute name = "hdr.format">HDR10</attribute>
<attribute name = "hdr.max.content.lightlever">411.314209</attribute>
<attribute name = "hdr.max.display.luminance">1000.0</attribute>
<attribute name = "hdr.max.frame.avg.lightlever">44.346352</attribute>
<attribute name = "hdr.min.display.luminance">0.0001</attribute>
<?xml version="1.0" encoding="UTF-8"?>
<DisplayPrimary name="Red" x="0.68" y="0.32" />
<DisplayPrimary name="Green" x="0.265" y="0.69" />
<DisplayPrimary name="Blue" x="0.15" y="0.06" />
<DisplayLuminance min="0.0001" max="1000.0"/>
<WhitePoint x="0.3127" y="0.329"/>
<PQMetadata name="MaxCLL" value="411.314209"/>
<PQMetadata name="MaxFALL" value="44.346352"/>
<?xml version="1.0" encoding="UTF-8"?>
Max FALL: 143.107407 Nits
Max CLL: 872.947083 Nits
Xw 0.3127 (15635)
Yw 0.329 (16450)
Mastering Display Primaries:
Xr 0.68 (34000)
Yr 0.32 (16000)
Xg 0.265 (13250)
Yg 0.69 (34500)
Xb 0.15 (7500)
Yb 0.06 (3000)
Max Luminance: 1000.0 (10000000)
Min Luminance: 0.0001 (1)
Transfer matrix: Rec2020
GPU-Accelerated H.264 Encoder
Proxy H.264 encoders have been accelerated by GPU processing, which results in much faster rendering capability than with CPU. This acceleration only applies to 8-bit H.264 encoders.
Please note that some older GPUs may not support this feature.
Customize ALE Metadata in GUI
Until now, ALE metadata files of Avid encoders could only be customised by editing the PHP script file of the current project. As a new feature, the columns of the ALE file are also customisable in the GUI using the new Avid settings in the Settings Page.
The MXF Clipname setting has been improved with often used presets, such as:
You can also define any custom metadata pattern in the Custom Value field.
The new Ale Custom Fields setting is for specifying the list of custom fields in the ALE file with header:value pairs, such as the following syntax:
The value can be a single keyword such as $ISO$, but also a string including keywords (Note the “k” for Kelvin at the end):
Other ALE settings, such as Ale Media Metadata, Ale CDL or ALE Video Format have been moved to Avid Settings from the Encode settings section.
Application Version as Metadata
In order to properly track which Transkoder version is used to render deliverables, a new metadata item, $CFApplicationVersion$ has been introduced. This is available as a burn-in and render path keyword, and also injected into EXR deliverables as metadata.
New Luminance Calculation for HDR Report
Measuring peak luminance levels of compressed video formats based on the MaxCLL value has not been proven reliable. This measurement, which is based on the max R, G or B component, is heavily distorted by compression noise and chroma subsampling artifacts. While Transkoder has built-in thresholds to ignore outlier pixels to mitigate this problem, a better solution is to measure the true luminance values of pixels (ITU-R BT.2020-2 Table 4) during QC.
Thus, a new Luminance Validation setting has been added to the QC section of the Settings page in Transkoder to control the brightness calculation method for the HDR report.
Digital Audio Pass-Through via SDI
Transkoder now supports transferring 24-bit digital audio signal via SDI interface without altering the code values. This enables Dolby-E QC workflows where the system passes through the digital signal to some receiver device.
The new Audio Processing setting in the Advanced Audio section of the Settings Page controls how audio samples are processed, including volume/gain processing and audio mix downs. Set this to Digital Signal to guarantee that digital values are preserved and Dolby-E audio is correctly sent to the SDI output.
Support for 24-bit audio on SDI video out has been also introduced in this latest version. The new Audio Bits Per Sample Advanced Video setting is now set to the default 24 bit value.
Checking Missing Characters During Subtitle Import
As a new feature, Transkoder checks the imported DCI subtitle file to see if all characters are in the referenced font file(s). The new Check Font Missing Characters subtitle setting in the Settings Page is enabled by default.
Multi-Mono WAV Export
The Audio encoders on the Render Page include two new presets that allow for rendering multi-mono WAV audio files. If you have a 5.1 channel audio group on the timeline and select either the Multi-mono wave or the Multi-mono wave 24 bit audio profile, each audio channel is rendered as a separate audio file, resulting in six mono wave renders.
New 7.1.4 Channel Preset
The 7.1.4 channel preset has been added to the list of predefined channel configurations in the Audio Mixdown window. Click the Channel presets drop-down menu at the bottom of the window to add this preset to the selected channel of the current mixdown.
New Default Audio Bit Depth for ProRes Encoders
From now on, all ProRes encoder presets on the Render Page default to 24-bit audio bit depth, instead of the previous 16-bit.
IMF and DCP Mastering
Enable Absolute Path for IMF/DCI Packages in Finalize Window
During production, it is often necessary to change an element of an IMF/DCP package (e.g. to modify the subtitle file) and then regenerate it under the same package name. Now there is a new IMF and DCP setting in the Settings Page that allows you to use the same name when modifying and then regenerating packages.
Enable the Absolute Finalize Path advanced IMF or DCI setting to force the overwriting/renaming of existing packages in the Finalize Window.
When you use this option, the old package is not deleted; it is only moved to a backup folder.
Ability to Rename Reels
As of this version, you can edit reel names either on the reel marker track or in the new Marker Table by double-clicking the reel name. The Marker Table is available either from the Window Tables menu or using the Ctrl+Alt+M shortcut. It also includes a separate Positions tab for positional markers for DCP and IMF packages.
After editing the reel names, you can finalize a new IMF/DCP package. Empty or duplicate name fields display an error warning.
The Marker Table allows you to add not only custom names but also comments to reels. You can use the Timeline Markers Export Reel Markers to CSV menu option to export the custom names and comments to .csv format. To import reel markers, use the Timeline Markers Import Reel Markers from CSV option.
$ReelName$ Keyword in DCI MXF Name
The keyword $ReelName$ has been added to supported keywords in the DCI MXF naming pattern. In the Naming tab of the Finalize Window, you can now add ReelName by selecting it from the Keywords list in the bottom right corner.
If you want to save this naming pattern, click on Save next to Asset Naming so that you can select it later from the templates.
Tolerance Threshold for Dolby Vision L1 Validation
A new setting, Dolby Vision L1 Tolerance has been introduced among the QC settings of the Settings Page to avoid random L1 peak luminance errors when validating HDR footage with Dolby Vision metadata. The entered value is in percentage of the brightest pixels in the image that is ignored as Dolby Vision Level 1 metadata. Using this threshold helps to avoid false error messages due to compression error, indicated by L1 values marked in red.
HDMI Tunneling of L5 Dolby Vision Metadata
There is a new Advanced Video setting in the HDMI section called Dolby Vision Tunneling Crop to control whether or not Level 5 metadata is sent to a Dolby Vision enabled television over HDMI. This is a useful feature for letterbox images.
New setting that enables Dolby tunneling option of sending L5 metadata
HEVC Encoding with Dolby Vision Metadata
Transkoder now supports encoding HEVC files with Dolby Vision metadata using the Dolby Encoding Engine (DEE). The DEE is Dolby’s stand-alone file-based CLI application for encoding Dolby Vision and Dolby Audio content, including HEVC processing, which has been integrated into Transkoder.
To have this functionality, the Dolby Encoding Engine must be installed and licenced on your system as follows:
1 First, download the Dolby DEE package from Dolby’s website.
2 Unzip the package file and install the DEE .exe file on your computer.
3 Copy all DEE files and the license from the installed folder to the following directory:
4 Also copy the dee_plugin_prores_dec_apple_dlb.dll file from dee_plugin_pack folder of the installation package to the same directory.
New Default ACES Pipeline
A new ACES pipeline has been developed in Transkoder, which wakes up with two separate grading nodes instead of the former, single ACES-CDLLMT tool.
New default ACES pipeline with separate ACES CDL and CFLMT nodes
CLF Export From CFLMT Node
The HUD of the modified Colorfront LMT node has been supplemented with a new Publish CLF button with which you can export the defined look in Common LUT Format (CLF).
The Common LUT Format, or CLF is a non-proprietary LUT format that supports several types of lookup tables, such as 1D and 3D LUTs, as well as logarithmic functions, matrices and range rescaling. These standard mathematical operators can be assembled in any number and order in an XML file, which makes it possible to define sophisticated color processing pipelines.
Further advantages of CLFs are:
• easy to archive and interpretable years later
• thoroughly documented with published specification
• has many implementation test kits to ensure that the implementations from different vendors are all producing the same results
• has high-quality open source implementation
The CLF is a flexible carrier of ACES Input and Look transforms, often used together with an ACES Metadata File (AMF).
When you use the Publish CLF option, any adjustments on the CFLMT node, required to create the desired look, are burnt in the .clf file and stored as a lookup table in the lower part of the XML file.
The CLF can also store additional proprietary information, such as look colour temperature or applied look presets, as well as CDL look grading, as an XML comment indicated by a ! (exclamation mark) in the XML file.
<!-- comment -->
When such CLF is imported into Transkoder, the system automatically reads the comment format and applies the adjustments on a CFLMT node in the ACES pipeline.
Exporting ACES AMF Metadata File
Transkoder now has the ability to export ACES AMF files in different ways.
The ACES Metadata File (AMF) is an XML-based sidecar file, carrying information about ACES transforms, such as Input, Look and Output transforms, as well as archival elements, to fully describe and accurately recreate the ACES viewing pipeline in any of the stages of production and post-production.
The AMF structure’s ACES pipeline element may include:
• Input Transform element, which may be a published IDT, an inverse output device transform or a custom CLF file
• Look Transform element: a CDL file or an LMT pointing to the associated CLF file
• Output Transform element, which may be an reference rendering transform (RRT), an output device transform (ODT) or an RRTODT
The new File Export Looks Export AMF From Clip and File Export Looks Export AMF From Timeline menu options export the ACES Metadata File from either the clip or the timeline, and saves it under the selected folder.
As another way of exporting an AMF file, a new metadata encoder, ACES AMF has been introduced on the Render Page.
If you are exporting an ACES pipeline that includes nodes unknown to ACES, such as Burnin or Reframe, they are excluded from the exported metadata file. AMF contains only the transformations described in specifications of the ACES viewing pipeline.
ACES AMF Import
Transkoder has added two new menu items to import metadata from an external ACES AMF metadata file. When using the File Import Looks Build Pipeline from AMF option, the existing pipeline is replaced, and a completely new ACES viewing pipeline is built based upon the metadata elements of the imported AMF.
The File Import Looks Update Pipeline from AMF menu option, however, does not build a new pipeline; it is only updated in accordance with the transform elements included in the imported metadata file. Thus, nodes previously added to the pipeline are not lost; only the LUT, CDL and/or CLF values are applied to the relevant shot.
Remote Workflows and Streaming
Remote Media Browser for Importing From Frame.io
The File Import Remote Media menu option now supports not only importing projects from S3, but also from the Frame.io object storage.
To import from Frame.io, first add a bearer token in the Cloud Storage settings. Then, go to the menu item and browse to the media file you want to import into Transkoder in the Remote Media Browser pop-up window. When you press Open, the selected media is imported into the Bin Window.
Separate Streaming Player Client Documentation
There is a dedicated manual available for creative professionals on Colorfront’s Streaming Player client application. Read about the application in detail in the Streaming Player 2022 User Guide.
Pipeline and Project Management
Pipeline Presets Window
A new window has been introduced to manage tool pipeline presets. Presets can be saved to be visible globally or only in the current project. When loading presets, the operator can import the complete pipeline or selected parts of it, such as RAW or reframe settings.
Open the Pipeline Presets Window with the Grade Pipeline Presets menu option or the Alt+O keyboard shortcut.
In the Pipeline Presets Window, you can perform the following functions:
Rename and Delete Project Templates
From this version, you can rename and delete previously saved project templates.
Quick Search of Project Names
It can be confusing to find the right project if there are plenty of projects on the Project Load Page. Transkoder has been added a new search bar that allows you to filter the project list by relevant project names.
Start typing on the Load Project page so that the quick search bar appears at the top of the right panel. As you type in a keyword, the list of projects is immediately filtered and only those that match the letters you enter are displayed. Click Esc to return to the full list.
Support Lens Metadata From External Preston XML
We now support lens metadata coming from external Preston XML. The Preston MDR-3 motor outputs absolute motor encoder position or lens distance information metadata into an XML file, which is now automatically detected and evaluated by Transkoder.
The XML data file is of the following format, where the timestamp is from timecode or MDR-3 internal clock, and the Focus, Iris, Zoom and Aux lens positions are in hexadecimal values:
NVIDIA RTX A5000 GPU Card Support
This version of Transkoder now supports NVIDIA’s RTX A5000 graphics card, built on the latest Ampere architecture.
Support NVIDIA GeForce RTX 30 Series with LHR
Transkoder now supports NVIDIA GeForce RTX 3080, RTX 3070 and RTX 3060 Ti cards with LHR (Lite Hash Rate), i.e. with reduced Ethereum hash rate.