QubeMaster Pro Making Digital Cinema in Soho

Date: 01/11/2011
QubeMaster Pro Making Digital Cinema in Soho

Soho-based Dado Valentic is a colorist and digital image workflow expert. His facility, MyTherapy, provides clients with on-set supervision, including look development, color grading and finishing, and digital distribution, with a specialization in stereo 3D. 

While much of Valentics work is on independent feature films, such as Inbred -- the latest work by director Alex Chandon -- the facility also delivers commercials projects, music videos and television shows. 

Traditionally colorists have not been involved in distribution, but Valentic takes a larger view. "I believe that it is our responsibility as colorists and post artists to push digital technologies forward. While camera manufacturers are creating better sensors and more refined tools, our mission is to learn how to process these images to ensure they look their very best once they reach the viewer."

We spoke recently with Valentic at his facility in London.

Tell us about your most recent project, Inbred.

I think this is, so far, my best work. Things just came together really nicely for this project. I had just got an upgrade for my DaVinci Resolve system. It was shot in 4K, so I had these beautiful images to work with. I had an amazing director, Alex Chandon. This was his comeback project after 10 years away and he was so passionate about the film. We had a great time and everything just came together: my equipment was working great and the film was great, and when I look at it, I am very proud. I think its the nicest job I've done so far.

Did you do digital cinema mastering for Inbred?

Yes, because that is the way I work. I never just grade something and then hand over the hard drive. My job is make sure that when the film is out there in the cinema, it looks exactly the way we wanted it to look. I never take a project on without delivering it in the format that they require. I make a version for digital cinema, and then I make a one for DVD, and another for BluRay and for the internet as well.

What are some of the differences to watch for with different deliverable formats?

Cinema is different from watching a movie at home. A movie theater is much darker. The images are bigger, so my vignettes are a different size in a cinema than they are in a DVD. I make my blacks different for the cinema than for a DVD. The same thing applies for iPads. The iPad looks too dark if you put a normal cinema grade onto it, so you have to really embrace the medium you are delivering to get the best possible picture.

How much of your work is in production, or near the set?

I am getting more and more involved in set work. Postproduction is starting earlier and earlier now. I am often consulted on jobs when they are in the planning stage. My clients come to me with the script and talk about how they can make it happen best.

How did you get into digital cinema mastering?

When I was working for Sony I saw one of the very first prototypes of a DLP projector and the moment I saw those images, I knew that this is going to be the future the images were so stunning. So even before digital cinema had become a standard, I had already started looking into ways to do it. I did a lot of research on how to get into digital cinema. That's when I discovered this company called Qube.

I found that their approach was actually the best of all, in terms of the architecture. In 2006 I bought one of the very first mastering systems in the UK from Qube. And I became just the second or third facility in the UK to provide digital cinema mastering services. I've been making DCPs ever since.

What makes Qube's DCP mastering architecture different?

The early specifications for how DCPs should be made were written by people who worked with films, so they basically took the 35mm processes of filmmaking and transferred those processes into the digital world. But digital is different. I never agreed entirely with the process that was being advocated. I felt that they were complicating things too much and that there were too many conversions. There had to be a better way to approach this process, especially when it comes to what source material to use, and how to manage color and the image size, etc. This is exactly what Qube had already figured out.

What is your approach to making DCPs?

Even today other companies force you to use specific image files as your source material for mastering DCPs, but it is much better if you can take your RAW master image, buffer it in the computer memory and do the conversions on the fly, reading the buffer and encoding into a JPEG 2000. This is what QubeMaster does. They wrote the software to be more flexible, and along with that, they introduced color management right in the beginning, which is actually the key.

You really can't encode something without having total control over the image and color, especially if we are talking about a larger color space like P3.

You do a lot of work in stereo 3D. How is that different?

I've done four feature films and lots of commercials in stereo, but I still think that I have a lot to learn about stereo. We all do. It is so interesting what you can do with depth if you apply different amounts of brightness or saturation. It's amazing how sensitive we are to even 2D clues about depth.

I've done a lot of 3D work in terms of brightness, which, as we all know, can be an issue with stereo projection. There is only so much light you can use in the projector, but what we can do is change the perception of brightness in the image.

How do you change the "perception of brightness?"

I found an incredible theory about light from Helmholtz, who describes the importance of local contrast for the perception of brightness. For example, if I put a black box next to white box, I would have a certain perception of brightness. If I put the same white box next to a gray box, the perception of the white will be different. Perception is subjective, but we can get so focused on the measurable aspects of light and color, we can overlook the importance of the subjective experience.

I've been working with a developer to write an algorithm, which we are deploying now, to apply a better perception of brightness in films. There are eight or nine color anomalies that humans have which we always need to consider during grading. We need to stop trying to measure the image and start just looking at it to see how we feel about it.

What are the challenges of mastering stereo 3D for digital cinema?

I did the very first stereo feature film in the UK called Streetdance 3D (released in 2010). Those were the early days and the biggest challenge we had then was the compatibility of servers. There are some servers out there that are so old that their hardware and software struggle with 3D content. Because you have double the frame rate in stereo, you need to reduce the bandwidth of the encoding without maxing out the server, or it starts dropping frames.

You have to be really clever with your compression to make sure you still get a good image without compression artifacts. I have seen some masters out there made by big facilities that suffer from the problem of artifacts, simply because they had to produce the DCPs quickly, or just because of carelessness. 3D mastering is tricky and it takes a lot of testing.

How does QubeMaster Pro help with stereo 3D?

QubeMaster allows you to really dig deep into your files and adjust them exactly. You can go as far as you want to distribute the bandwidth exactly the way you want to. You can actually tell the encoder what detail level you want. You can also tell it to ignore certain parts of the image because they are only noise. All these little things are important.

On the surface, all of the DCP mastering systems may look the same, but when you really need precision, when you really need access to specific parts, it is so important that you can get in there. And that's what QubeMaster gives you.

What do your clients like best about your work?

I think they like my passion the best. I love what I do, and even if it's just a short movie, I'm still going to try to get the best out of it. And that's why people like to work with me, because I am totally engaged in a project. 

Dado Valentics facility, MyTherapy is based in London. QubeMaster Pro is part of the QubeMaster family of digital cinema applications, which also include QubeMaster Xpress 2.0, (which offers easy DCP mastering on Windows); QubeMaster Xport, (a plugin for mastering DCP with Apple Compressor on Mac OSX), and QubeMaster Packager for creating new versions of DCPs without having to re-encode the entire file.

www.qubecinema.com.



Tags: digital cinema | digital cinema packages | dcps | DCP mastering | digital cinema mastering | Qube Cinema | QubeMaster | MyTherapy
Submitted by Eric Philpott (philpott communications)
View author's directory page

Related Interviews
  • Global Distribution with mLogic at IBC 2013

    Global Distribution with mLogic at IBC 2013

  • Bebob V-Mount Batteries at NAB 2019

    Bebob V-Mount Batteries at NAB 2019


Related Shows
  • How has it been in 2020 for Global Distribution and how does this reflect on the industry

    How has it been in 2020 for Global Distribution and how does this reflect on the industry


Related Articles
  • Will Strauss looks at 6 reasons why 4k is so special

    Will Strauss looks at 6 reasons why 4k is so special

  • Leading digital cinematography seminar with Matt Siegel

    Leading digital cinematography seminar with Matt Siegel

  • NAB is for soothsayers, trendsetters and people with roadmaps

    NAB is for soothsayers, trendsetters and people with roadmaps

  • 3D for Cinema, ProAV and Events

    3D for Cinema, ProAV and Events

  • tv-bay questions

    tv-bay questions

  • Doremi Silver Anniversary

    Doremi Silver Anniversary

  • 3D Movie Making: Stereoscopic Digital Cinema from Script to Screen

    3D Movie Making: Stereoscopic Digital Cinema from Script to Screen


News
ATEME Brings World-first HDR10+ Support in Live Transcoding Posted: 30/11/2021
ATEME Brings World-first HDR10+ Support in Live Transcoding

ATEME today announced that it has introduced support for the HDR10+ metadata in its TITAN Live transcoders, enabling broadcasters, service providers and content providers to significantly improve their viewers’ visual experiences with more accurate image renditions of live HDR10 content.

Tags: ATEME | HDR10+ | Broadcast | TITAN
Submitted by Whiteoaks
More from this author
FINCONS GROUP Wins 2021 NAB Show Product of the Year Award with Univision Posted: 30/11/2021
FINCONS GROUP Wins 2021 NAB Show Product of the Year Award with Univision

Group announced that its Univision ATSC3.0 Broadcast App is a Best New Streaming Technology winner in the 2021 NAB Show Product of the Year Awards. This official awards program recognizes the most significant and promising new products and technologies showcased by corporate partners of NAB Show.



Tags: Fincons Group | Univision ATSC 3.0 | NAB
Submitted by OutspokenPR
More from this author
BB and S Intros Compact Bicolor Fresnel (CFL) Light Posted: 29/11/2021
BB and amp;S Intros Compact Bicolor Fresnel (CFL) Light

BB&S Lighting of Denmark adds the Compact Bicolor Fresnel to its family of Compact Beamlight LED studio fixtures. The smallest footprint (5.5-in/14cm) Fresnel on the market, it draws just 38W and outputs over 2400 lumens at 96 TLCI (tunable from 2700 to 5600°K).  New CFL features a genuine curved glass 90mm Fresnel lens that ensures even field distribution in addition to excellent shadow rendering.

Tags: BB&S Lighting | BB&S | Lighting | local 728 | lighting design | light | cinematography | digital cinematography | director of photography | cinema | commercial | music video | phosphor lighting | led | lightbridge | pipelines | area 48 | Lumix S1H | reflector | cine | produc
Submitted by Lewis Communications
More from this author
New Dalet Flex Capabilities Help Customers Get High-Value Content to Audiences Faster Posted: 29/11/2021
New Dalet Flex Capabilities Help Customers Get High-Value Content to Audiences Faster

From architecture to editing, the latest Dalet Flex updates elevate performance and user experience, powering remote workflows and new business opportunities



Tags: Dalet | Dalet Flex | Adobe Premiere Pro | Avid Media Composer
Submitted by Zazil Media Group
More from this author
EditShare Q4 Release Optimizes Media Technology Stack and Enhances Creative Remote Workflow Experience Posted: 29/11/2021
EditShare Q4 Release Optimizes Media Technology Stack and Enhances Creative Remote Workflow Experience

EditShare®, the technology leader that enables storytellers to create and manage collaborative media workflows, announced significant updates to its FLOW media asset management (MAM) and EFS shared storage systems

Tags: Update | EditShare | FLOW | EFS
Submitted by EditShare
More from this author
TV2 Nord delivers dynamic election day coverage with nxtedition Posted: 29/11/2021
TV2 Nord delivers dynamic election day coverage with nxtedition

Broadcast microservices specialists nxtedition played a leading role in customer TV2 Nord’s coverage of the Danish local elections on November 16. The election covered 98 of the country’s municipal seats and five regional councils and the broadcaster relied on its nxtedition system to handle video wall and graphics automation throughout.

Tags: Broadcast | microservices | TV2 Nord | Denmark | Elections | coverage | news production | production | news | television
Submitted by Manor Marketing
More from this author
Origin Bolsters Management Team Posted: 29/11/2021
Origin Bolsters Management Team

Origin Film & Television, a broadcast and post-production equipment rental company specialising in workflow design and engineering, has appointed James Gander as managing director. Former managing director and company director of Hyperactive Broadcast, Gander’s appointment is a strategic move designed to accelerate the ambitious growth plans of the business. Liam Wife, the company’s founder, remains as operations director.

Tags: Origin Films | Origin Film & Television | Origin Films MD | James Gander | Liam Wife | MCR Broadcast | Film Production | TV | Production | Equipment Hire | Outside Broadcast | Professional Audio | Rental Equipment | RF
Submitted by Page Melia PR
More from this author
WhatCulture YouTube Channels and Podcasts Powered by Blackmagic Design Posted: 29/11/2021
WhatCulture YouTube Channels and Podcasts Powered by Blackmagic Design

Blackmagic Design today announced that international entertainment portal WhatCulture has equipped five new studios with a streaming and web broadcast workflow based on the Blackmagic Studio Camera 4K Pro and ATEM Mini Extreme ISO. 

Tags: Blackmagic Design | Announcement | WhatCulture | Blackmagic Studio Camera 4K Pro | ATEM Mini Extreme ISO | Blackmagic Pocket Cinema Camera 6K Pro
Submitted by Blackmagic Design
More from this author
Nuke 13.1 released to streamline artists workflows Posted: 26/11/2021
Nuke 13.1 released to streamline artists workflows

We are delighted to announce the release of Nuke 13.1, our latest release in the Nuke 13 series. This artist-focused update introduces a suite of user experience and workflow improvements designed to enhance artist productivity and accelerate the creative process for both artists and teams.

Tags: compositing | Nuke | Unreal
Submitted by Foundry
More from this author
Super Producer Chooses A Neve Genesys Black Console New Studio Posted: 25/11/2021
Super Producer Lil and rsquo; Ronnie Chooses A Neve Genesys Black Console For His New Studio

Multi-platinum music producer and songwriter Ronnie Jackson has made a Neve® Genesys Black G16 console the centrepiece of a new five studio facility he recently opened in Georgia, USA.

Tags: AMS Neve | Genesys Black Console | Lil Ronnie | Einnor Studios | Ronnie Jackson
Submitted by White Noise Public Relations Ltd
More from this author
Trickbox TV Launch New Studio in The Shard Posted: 25/11/2021
Trickbox TV Launch New Studio in The Shard

Trickbox TV have recently installed a brand new multi-camera studio facility on the 25th floor of The Shard, London.



Tags: broadcast | studio | theshard | corporate | television
Submitted by Trickbox TV Ltd.
More from this author
Fiilex P3 Color LED Now Available in UK Posted: 24/11/2021
Fiilex and rsquo;s P3 Color LED Now Available in UK

Fiilex, manufacturer of high-end LED lighting for the film and television industries, has officially launched its P3 Color into the UK market.

Tags: fiilex | LED | Lights | color | Dicon | firberoptics | fixtures
Submitted by Cirro Lite (Europe) Ltd
More from this author
SMPTE Awards Gala Will Bring Virtual Celebration to Time Zones and Participants Around the World Posted: 24/11/2021
SMPTE Awards Gala Will Bring Virtual Celebration to Time Zones and Participants Around the World

SMPTE®, the home of media professionals, technologists, and engineers, will honor industry luminaries and next-generation leaders at the SMPTE Awards Gala, a virtual event taking place across two ceremonies on Nov. 30 and Dec. 1. Registration is free for this year’s event, which will feature a unique social reception and a program schedule that makes it easy to engage and celebrate with friends and colleagues around the globe.

Tags: Awards Gala | SMPTE | Progress Medal
Submitted by Wall Street Communications
More from this author
Flowics Wins 2021 NAB Show Product of the Year Awards Posted: 24/11/2021
Flowics Wins 2021 NAB Show Product of the Year Awards

Flowics, creator of the most comprehensive platform for powering remote and in-studio production of live graphics and interactive content, announced today that its Flowics Graphics is a Best New Graphics Technology winner in the 2021 NAB Show Product of the Year Awards. This official awards program recognizes the most significant and promising new products and technologies showcased by corporate partners of NAB Show.

Tags: Flowics | NAB Show | Flowics Graphics | Cloud Based | Technology | NAB Winner
Submitted by Wall Street Communications
More from this author
FC Bayern Munich extends its partnership with Supponor for next generation virtual advertising Posted: 24/11/2021
FC Bayern Munich extends its partnership with Supponor for next generation virtual advertising

Supponor, the global leader in virtual advertising solutions, is delighted to announce that FC Bayern Munich has signed an exclusive partnership with Supponor. As an indication of the strength of the partnership, the extended deal will also see FC Bayern Munich transition to the next generation of Supponor’s virtual advertising solution, Supponor AIR™. 

Tags: Supponor | FC Bayern | virtual advertising | Supponor AIR
Submitted by Bubble Agency
More from this author
Pages:   [1] 2 3 4 5 6 7 > >>