Qube has a new DCP creator that works as a plug-in for Final Cut Compressor. There are 4 versions that range from generic to 3D/4K packages and from $800 (570€) to nearly $2,800 (2,000€).The title is QubeMaster Xport.
Qube Online Store Product Catalog
Qube is also announcing that in June they will have a KDM key generation service for QubeMaster Xport users to add security to the DCPs.
QubeMaster Xport enables Final Cut Pro users to save pre-defined settings as Compressor Droplets and simply drag-and-drop files to create DCI-compliant masters. All of the file formats supported in Final Cut Studio can be output to 2K and 4K, and the software can handle XYZ color space conversions, or apply custom 3D LUTs to source files while encoding.
“With major film festivals like Cannes and Venice now endorsing DCPs as their preferred delivery format, we’re seeing a surge of interest from independent filmmakers looking for better ways to master and deliver their films,” explained Eric Bergez, director of sales and marketing at Qube Cinema. “This new website gives them access to all the tools they need for generating DCP masters without the expense and complication of going to a major facility.”
Bergez pointed out that QubeMaster Xport also opens the door to the growing digital cinema market for boutique post houses and pre-show content creators. “It’s about putting distribution capabilities into the hands of those who create the content,” he added.
CinemaCon begins with International Day on 28 March. There are many interesting conferences on that day and the following two. As a break from tradition and to help make the exhibition floor more vital there are more open time without conflicts, including a virtually undisturbed final day (except for the movie.)
Of course, 3D will be a major topic, lasers are around the corner, but orienting everything around a many new regimes will be the unofficial theme.
Following is the links for the primary PR events of the show. This will be updated when new information is received.
Continue reading CinemaCon Official PR [Updated]
Broadcast Engineering has an exclusive interview with 3D entrepreneur Steve Schklair, founder and CEO of 3Ality Digital. The conversation weaves broadcast 3D concerns with feature information. 20 minutes of Must Hear.
Mandatory listening for anyone who has read the Walter Murch/Roger Ebert article.
When we think of a digital cinema projector’s light path, we non-optical designers consider the lamp and reflector housing, the condenser lenses and prism assemblies, the DLP or LCOS chip themselves and the lens. There are obviously clever bits in between, for example the optics that will strip the UV and IR from the lamp, physical slits for the light to pass through, as well as techniques for balancing the lamp output for the proper levels of R, G and B.
There is a word that gets used by optics people – etendue – which points to certain characteristics of light that requires the balancing of quantity and angles in a manner that matches the most refined part of the system (in this case the DLP/LCOS device.) This etendue inherently restricts the ability to use more brut force on one end to get more quality light at the other end.
Continue reading 3Questions – Laser Light Engines
Lars Reichel has taken his dcpCreator front end, DCPC, and extended it with a number of features using ImageMagick. There is even a manual in English. Digital Cinema Package Creator
Continue reading DCPC – Digital Cinema Package Creator
The company that registered “Dimensionalization” as the nom-de-plume for creating 3D movies from 2D sources has been acquired by Digital Domain.
Continue reading In-Three Finds Digital Domain
This article will highlight 3D tools that sail past the author’s eyes. They may get more full articles in the appropriate sections if someone writes it, or may not.
3D movie Calculator | Stereographers calculator for iphone
Not only an essential tool, but the front page of the website has a concise set of details about 3D principles that should be known by rote.
One rule in 3D production or post is to take off the glasses. There’s a lot to see in the overlap of images.
On the other hand, if you have a 2D movie in front of you, close one eye and a lot of the 3D detail comes out. You get back some of those 3D cues/clues that the eye/brain complex merge when two eyes are open and staring at a flat screen (and realize “Hey–dis be flat!) – clues like occlusion, size of familiar objects, size of comparative objects, texture detail, distance color shift, haziness, all get un-merged.
Un-Merged is how Harry Potter will be delivered on November 19th.
Continue reading H. Potter kills 3D; RED kills Low Dynamic Range
Professional critics are still whining about 3D at the movies. Some is valid, but ill-expressed. None creates the desired effect of educating and motivating a grass-roots effort to insist that the cinemas and studios improve the situation.
This month Patrick Goldstein summarized some of the arguments, and while he had the time and space to round up some past negative articles of others, he spared no space for explaining the good parts of 3D, or the fact that there was plenty of bad CGI in its early days of its evolution. Here is a list of those articles in case our professional readers have been too busy to notice that some part of the populace is speaking out against one-size-fits-all-uncomfortably-glasses and poorly illuminated screens:
Continue reading 3D Wonders