Secure, calibrated, full latitude grading in 2K on the new iPad.
Seamlessly integrated with Colorfront On-Set Dailies, On-Set Color is an iPad grading app that supports communication of cinematographic intent between DoP and the dailies colorist.
Having access to the full latitude 2K 10bit logarithmic DPX images on the new iPad, with the calibration applied on the device allows for a proper grading pipeline to be implemented on the iPad.
See the workflow video.
OSCQuickStartGuide.pdf [845 KB]
Images are watermarked and encrypted and can be synced through secure FTP. Color grading is compatible with On-Set Dailies and can be sent back along with any text notes to the dailies facility and applied for the transfer.
On-Set Color works both on iPad 2 and the original iPad and is available for all On-Set Dailies users immediately.
Advantages of Colorfront On-Set Color
- Full integration with On-Set Dailies
- Works with 2K uncompressed 10 bit log DPX files
- Full latitude high dynamic source material
- 3DLUT calibration applied on the iPad
- Automatic sync stills and color grading metadata from OSD
- Secure FTP transfer, 128-bit AES encrypted images and watermarking for security
- View original, colorist or new grade
- Send back CDL or primary grade settings to OSD
- Multi-Touch UI, gestural interface
- Aspect ratio overlay and blanking
- Brightness, contrast, color balance, saturation control
- Color grade shadow, midtones and highlights separately
- Review and share notes and comments
For additional security details on the iPad in general, please review:
iPad in Business Security Overview
On-Set Color™ and On-Set Dailies™ are trademarks of Colorfront.
New Features Accelerate Momentum of On-Set Dailies in Movie and Episodic TV Production
BUDAPEST — September 6, 2011 — At IBC 2011 (booth 7.A10), Colorfront will debut the latest version of On-Set Dailies, the company’s acclaimed digital dailies system, with powerful new features adding capabilities in stereographic analysis, workflow and grading, building on the outstanding offering that has seen OSD become the de facto standard for movie and episodic TV production in little over twelve months.
“In On-Set Dailies, we have found the perfect solution that integrates with Technicolor's own on-set color correction system we use on broadcast and feature productions,” said Brian Gaffney, Vice President of Technicolor On Location Services. “OSD allows Technicolor to manage all of the latest camera formats such as ARRI Alexa and the RED Epic, as well as the Canon 5D Mark II. OSD really speeds up the on-location dailies process, with a well thought-out and complete tool set, and great support from Colorfront.”
The new waveform and histogram analysis tools will be on display, providing support for intuitive presentation of stereoscopic parameters. The powerful stereography toolset in On-Set Dailies is also extended, offering industry-leading quality for real-time stereo ProRes, ARRIRAW, and R3D Epic support. OSD’s exceptional versatility is enhanced with support for ARRI ALEXA Look Files with end-to-end color look management, from on-set, near-set, and in post. Floating point IIF / ACES and OpenEXR file format projects are supported with the acclaimed, fully flexible pipeline for emerging digital camera workflows in primetime television, as well as feature films.
On-Set Dailies now accepts ARRI DCS lens metadata, features embedded audio and metadata support for QuickTime and R3D media, and offers chaptered QuickTime rendering with timecode, and MXF audio rendering for enhanced Avid editorial workflows. Grading facilities are extended with printer light grading and auto grade, and the ergonomic control panel support now includes the latest Tangent Devices Element panels and AVID Artist Color & Transport panels, besides the existing Wave and CP200 panels from Tangent.
In response to popular demand from users, On-Set Dailies gains an Enhancement Pack that augments existing dailies functions with a range of GPU-based real-time manipulation tools including Blurs, Sharpen, Detail, Grain, Gradation, Vignette, and 3D DVEs. OSD’s improved support for stereography now includes differential left/right eye views, depth histograms, L/R histograms for color analysis and matching, advanced automatic geometry fixing, edge-based disparity estimator, and time code matching of L/R clips.
“Many of these features have been added to OSD in response to the tremendous uptake of the system for both feature and episodic television production, following its enthusiastic reception by movie makers,” said Aron Jaszberenyi, Managing Director of Colorfront. “The unprecedented processing speed offered by OSD, together with wide support for the major color pipeline workflows, and the easy way it handles tedious tasks like metadata logging, audio syncing, multiple delivery creation and versioning, have made it a big hit on many of the most prestigious movies and television shows today.”
Recent movie credits for OSD include: The Avengers; Life of Pi; Extremely Loud and Incredibly Close; Gambit; Gravity; In Time; Abraham Lincoln: Vampire Hunter; Hansel and Gretel: Witch Hunters; and The Three Musketeers 3D.
Recent primetime television credits for OSD include: CSI:Miami (CBS);
Desperate Housewives (ABC); House (Fox); The Lying Game (ABC); Man Up (ABC); NCIS: LA (CBS); Private Practice (ABC); Scandal (ABC); Sons of Anarchy (FX); Undercover Boss (CBS); Vampire Diaries (CW); Walking Dead (AMC);
Strike Back 2 (Sky/Cinemax); World Without End (Tandem);
The Pillars of the Earth (Tandem); and The Borgias (Showtime).
“The team at Colofront has designed a revolutionary and unmatched tool in On Set Dailies,” said Brandon Bussinger, Director of Technology for SIXTEEN19. “I feel strongly that no other system on the market today can handle the variety of workflows, range of deliverables, and timeframes demanded by today's productions. The open architecture, intuitive design, and sheer performance of OSD, as well as the collaborative spirit of its design team have proved invaluable and have made it a cornerstone in our workflow.”
Developed by the team which won the 2010 Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences for Autodesk's Lustre grading system, On-Set Dailies offers an all-embracing approach to digital dailies workflow, integrating all the necessary tools – including playback and sync, QC, color grading, audio and metadata management – with state of the art color and image science, and generates simultaneous faster-than-real time deliverables in all common file formats.
Colorfront, based in Budapest, Hungary, is one of Europe's leading DI and postproduction facilities. The company was founded by brothers Mark and Aron Jaszberenyi, who together played a pivotal role in the emergence of non-linear DI. The company's R&D team earned an Academy Award for the development of Lustre, Autodesk's DI grading system. Combining this in-depth expertise with a pedigree in the development of additional cutting-edge software, Colorfront offers today's most advanced technologies for scanning and recording, DI grading, conforming, digital dailies, VFX, online and offline editing, cinema sound mixing, mastering and deliverables.
For further information please visit: www.colorfront.com