DOP : Sandeep | Colorist: G.Balaji
My Next NGO job as an colorist for an noble cause about Air Pollution in North chennai.
DOP : Sandeep | Colorist: G.Balaji
My Next NGO job as an colorist for an noble cause about Air Pollution in North chennai.
Hip Hop Tamizha maiden album which I graded 7 years before.
My Next project for Think Music. Introducing Gaana Girl her maiden album in the lines of Hip Hop Tamizha
I worked on many indian projects for converting subtitles (many think they can do it themselves without any professional help) to Digital Prints (ASC file format) & SRT (TV) & Online / Mobile (SBV and many more) using combination of many subtitle Conversion softwares & Editing Systems.
I ask editors/subtitle creator to do the spotting of subtitles in their beloved NLE (Non-Linear Editing Softwares namely AVID or FCP, Now Premiere is choice of many for their robust many file formats ingesting and playback capabilities without generating offline files) and deliver me the files as Avid BIN / FCP Project or XML file and then I use Annotation Edit or Title Exchange software to generate ASC / SRT / YOUTUBE SBV Subtitle file formats. You can do many file format convertions. Given below in how many formats you convert from & to…
The above screenshots are taken from Title Exchange Software which can be purchased for a donation from here… http://www.spherico.com/filmtools/TitleExchange/
Note: I am no way paid from TitleExchange and I purchased this software by paying it.
How to get files for Title Exchange is based on what software you are using.
If you use FinalCutpro Place Text layer in appropriate timings in Timeline and export FCP XML to bring it to Title Exchange software.
If you use Avid use Avid SubCap Effect and time it based on your subtitle and export as an Avid DS Caption.
If you use Adobe Premiere Pro, You can use their closed captioning feature to spot subtitles and export to suitable format which can be imported to Annotation Edit or Title Exchange.
Once you done your prepartion of spotting your subtitles, you can now bring to either Title Exchange or Annotation Edit to export to your desired output formats from Digital Cinema Print Subtitles to SRT for TV to Blu-ray to DVD to Youtube or anyother Online / Mobile Platforms.
You can purchase the following software from below links,
Note: Since Adobe Premiere Pro doesn’t allow to use their text formats to translate to other formats, its not possible to use Adobe Premiere Pro except you use their Closed Caption.
Recently worked as colorist for APP commercial titled “Make Room For Something New | Open Up With Styazilla” for a home stay brand STAYZILLA which is making rage in Youtube crossing 2.15 Million views in 3 weeks of its launch.
First time used DNG Still Frames in Davinci Resolve 12 to grade this project and its a great experience in working with renowned director of this project who is the diretctor of tamil cult film “ARANYA KANDAM”. Thanks Kumararja Thiagaraja & DOP Jeeva Sankar for this great opportunity.
Here is commercial for your viewing..
More information about the technicians as follows:
Written and Directed by: Thiagarajan Kumararaja
Voice: Gautam Vasudev Menon
Cinematography: Jeeva Sankar
Production Designer: Gopi Prasannaa
Art Director: Nindan
Art Assistants: Adheesh, Parthiban Shankar V Kumar
Editing: Satyaraj Natarajan
Executive Producer: Swathi Raghuraaman
VFX Supervisor: Aravind
Music Director: Ghibran
Assistant Camera: Saravanan
Production House: Tyler Durden and Kinofist
Colorist: Balaji Gopal
Sound FX: Koothan, Suren
Sound Engineer : Tapas Nayak
Costumes: Manju Bhargavi
My new avatar as Colorist in recently released film Trailer from Tamil Feature Film “Orange Mittai”. Expecting your wishes and suggestions to improve further.
Via Kodak Website,
Illicit copying of movies has long been a concern of the motion picture industry, and technology developments over the last few decades are making piracy an even bigger threat. According to the Motion Picture Association of America (MPAA), movie piracy costs the studios over $3 billion dollars in lost revenue each year. Fortunately, Kodak researchers have been working on a way to help combat piracy through the use of invisible watermarking.
Although there are many ways for pirates to acquire illegal copies of movies, the simplest and one of the most common is to use a camcorder to record the movie as it is projected in a theater. As the digital distribution and projection of movies (aka ‘digital cinema’) becomes more common, strong encryption technology promises to make it harder to steal a movie before it’s projected. But as it’s projected, the possibility of ‘pirates’ making an ‘untraceable’ camcorder copy will be much more difficult because of Kodak’s invisible watermarking technology.
With this technology, every screening of every digitally projected movie could have its own unique code. This code, which is buried in the pixels, is invisible to the audience but is copied into the pirated version. These ‘watermarks’ provide the ‘fingerprints’ for tracing where and when the movie was stolen. While watermarking doesn’t directly prevent theft, it can
The information contained in a watermark can be just about anything, but at a minimum, it should include a unique ID code that identifies the theater (and the specific screen) and the date and time of the movie showing. The invisible watermark is carried along with the movie content as it is pirated onto a camcorder and subsequently distributed. If an illegal copy is recovered, the watermark information can be extracted from the copy, and the time and place of the original theft is known.
While there are several watermarking solutions available on the general market, the Digital Cinema applications pose some particularly difficult problems. The issue is whether the watermark can survive the numerous degradations that occur when a movie is copied from the screen using a camcorder. These degradations include magnification changes, the warping of perspective, loss of sharpness, effects of interlacing, changes in contrast and color, temporal sampling rate changes, and more. Many watermarking techniques cannot survive even simple alterations to the watermarked data, but Kodak’s technology for robust, invisible watermarking can be applied to Digital Cinema with exceptional results. Besides its performance, Kodak’s watermarking process includes secure keys for embedding and extracting the watermarks, which prevents unauthorized tampering and extraction of the watermark.
While piracy can never be stopped, legal enforcement of copyright laws is critical to minimizing it. That legal enforcement depends on good evidence. And one way to provide that evidence is Kodak’s invisible watermarking technology. Invisible watermarks provide the “fingerprints” for tracing where and when a movie was stolen. While watermarking doesn’t directly prevent theft, it can provide key evidence of when and where the copy was made.
Note: The above was demonstrated by Kodak in Showest in March 2001 (Link: http://www.kodak.com/country/US/en/corp/researchDevelopment/productFeatures/cinema.shtml)
Currently high quality copies can be easily captured via HD consumer camcorders or even SmartPhones like iPhone & Samsung which records upto 1080p can be used for making illegal movie copies, which can be distributed shortly after the movie release.
NexGuard – Digital Cinema:
NexGuard – Digital Cinema offers unique image and audio forensic marking, enabling illegal copies found, to be traced back to the theatre where the camcording occurred. NexGuard – Digital Cinema is fully compliant with the specifications from the Digital Cinema Initiatives (DCI), a joint venture of the major film studios, which made forensic marking of digital movies – including both image and sound – a mandatory requirement. Provided as an integral component of the Digital Cinema server system, NexGuard – Digital Cinema offers great advantages. The forensic mark is added to the content upon projection and includes a location identifier and a time stamp.
The above technology has been implemented in both D-Cinema & E-Cinema Servers by only one company in India, Qube.
Licensed Cinema Servers by NexGuard Invisible Watermarking Technology worldwide are as follow,
Licensed cinema servers:
The above invisible watermarking technology are only used in Digital Cinema Exhibition worldwide, Whats worrying now in filmmaking stages are movies being pirated in Post Production Stage itself.Two example being a full film of Jaggubhai starring Sarathkumar available on net before the release of film which was pirated at post production stage and yesterday Ajith staring Arrambam, a 50sec footage captured via phone from a TV in post production stage leaked in Facebook & Youtube.
What currently needed at Post Production stages are after shooting in digital, files need to be back-up multiple mediums including Hard Disks, RAIDs & LTO Tape Archive. Once done and when footage are send for Editorial needs to be encrypted and encrypted contents can only open content by running decrypted software in Editorial and same needs to continue to every post production stage including Dubbing, Sound FX, Re Recording, Sound Mixing and copies for Producers, Directors, DOP & Actors. In every stage there needs to be decrypting software running in all these place which will have invisible watermarking and when there is a duplicated copy taken from any of these places via capturing and copying can be easily deductible and easy to question people. For this to happen Producers & Crew needs to be educated on advantages of this and software implementation for which there will be cost.
Hope industry agree to this and start working towards this.
Advantages of GoPro cameras are its size and image reproduction at that price which made film makers across the world to use it in framing shots in feature films which is not possible with any other camera. Still DOPs across the world in-spite of GoPro Hero3 4K image reproduction with better imaging & low light performance are not happy till date, but use it modestly for shots which are impossible with current cameras including Film Cameras and Digital Cinema Cameras like Arri Alexa, Red Epic / Scarlet, Sony F65 / F55 / F5, Phantom Flex / HD, SI2K and so on. Above all GoPro Hero3 produces brilliant image but not ready for big screen projection is my point of view.
GoPro Hero3 Specs:
|Video Resolution||NTSC fps||PAL fps||STD Mode||Protune Mode||Field of View (FOV)||Screen Resolution/ Aspect Ratio|
|1080p||60, 48, 30, 24 fps||50, 48, 25, 24 fps||YES||YES||Ultra Wide, Medium, Narrow||1920×1080 16:9|
|720p||120, 60 fps||100, 50 fps||YES||YES||Ultra Wide, Narrow*||1280×720 16:9|
|1440p||48, 30, 24 fps||48, 25, 24 fps||YES||YES||Ultra Wide||1920×1440 4:3|
|4K||15 fps||12.5 fps||NO||ONLY in Protune||Ultra Wide||3840×2160 16:9|
|4K Cin||12 fps||12 fps||NO||ONLY in Protune||Ultra Wide||4096×2160 17:9|
|2.7K||30 fps||25 fps||YES*||YES||Ultra Wide||2704×1524 16:9|
|2.7K Cin||24 fps||24 fps||YES*||YES||Ultra Wide||2704×1440 17:9|
|960p||100, 48 fps||100, 48 fps||YES||YES||Ultra Wide||1280×960 4:3|
|WVGA||240 fps||240 fps||YES||NO||Ultra Wide||848×480 16:9|
Note *May require a software update on camera
Black Edition with LCD Touch BacPac™
Black Edition using with Wi-Fi Remote
Black Edition using GoPro App
|RES/FPS||Estimated Time||Estimated Time||Estimated Time||Estimated Time|
A true Super 16 digital film camera that’s small enough to take anywhere!
Blackmagic Pocket Cinema Camera Accessories are already ready for shipping from Wooden Camera – http://woodencamera.corecommerce.com/Blackmagic/New-Releases-BMC/Quick-Kit-Pocket.html
Hence with size and affordability, Blackmagic Pocket Cinema Camera will replace GoPro in feature film production in near future. Blackmagic Pocket Cinema Camera is expected to ship in couple of days for a price of $995.
Canon Official Press Release dated March 4,2013:
Canon develops 35 mm full-frame CMOS sensor for video capture
TOKYO, March 4, 2013—Canon Inc. announced today that the company has successfully developed a high-sensitivity 35 mm full-frame CMOS sensor exclusively for video recording. Delivering high-sensitivity, low-noise imaging performance, the new Canon 35 mm CMOS sensor*1 enables the capture of Full HD video even in exceptionally low-light environments.
The newly developed CMOS sensor features pixels measuring 19 microns square in size, which is more than 7.5-times the surface area of the pixels on the CMOS sensor incorporated in Canon’s top-of-the-line EOS-1D X and other digital SLR cameras. In addition, the sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. Thanks to these technologies, the sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon—a level of brightness in which it is difficult for the naked eye to perceive objects. When recording video of astral bodies, while an electron-multiplying CCD,*2 which realizes approximately the same level of perception as the naked eye, can capture magnitude-6 stars, Canon’s newly developed CMOS sensor is capable of recording faint stars with a magnitude of 8.5 and above.*3
Using a prototype camera employing the newly developed sensor, Canon successfully captured a wide range of test video,*4 such as footage recorded in a room illuminated only by the light from burning incense sticks (approximately 0.05–0.01 lux) and video of the Geminid meteor shower. The company is looking to such future applications for the new sensor as astronomical and natural observation, support for medical research, and use in surveillance and security equipment. Through the further development of innovative CMOS sensors, Canon aims to expand the world of new imaging expression.
Canon Marketing Japan Inc. will be exhibiting a prototype camera that incorporates the newly developed 35 mm full-frame CMOS sensor and sample footage captured with the camera at SECURITY SHOW 2013 (www.shopbiz.jp/en/ss/), which will be held from Tuesday, March 5, to Friday, March 8, at the Tokyo International Exhibition Center in Tokyo, Japan.
*1An imaging element (aspect ratio: 16:9) that supports the largest image circle size possible when shooting with a Canon EF lens.
*2A CCD sensor with a readout mechanism that multiplies electrons after being converted from light. Applications include nighttime surveillance and the capture of astral bodies and nighttime nature scenes.
*3The brightness of a star decreases 2.5-times with each 1 magnitude increase.
*4Recording of test video footage was made possible through cooperation from ZERO Corporation.
|Footage using the 35 mm full-frame CMOS sensor for Full HD video capture|
Yesterday midnight at the stroke of new year in reduser.net forum, Jim Jannard announced first image of Red new Dragon Sensor which is capable of 21stops of Dynamic Range in 6K @ 80fps.
Jim Jannard message in reduser forum,
“Happy New Year everyone… just a bit of an update on Dragon.
There are some people that think RED has been standing still.. Quite the contrary. We just have been a bit quiet with our hands full harnessing the fire-breathing power of the Dragon.
Dragon was born from a brand new pixel design, with a new fab process and a new read out architecture that has resulted in a sensor that is cleaner and that has more dynamic range than anyone expected.
One of our most reserved sensor engineers wrote Jim and I this morning after shooting a test and these were his words:
” First time in ten years that I’m speechless ”
Getting Dragon done was one of the most difficult things we have ever done… but it has turned out to be much more than we could of ever imagined.
This much range coming off of a sensor has never been done before.. let alone at over 6k at 80 frames a second.. so we had to beef up the entire infrastructure of EPIC.
This is likely to affect the price of the upgrade a bit.. and its going to close the door on any chance of a Scarlet to be able to upgrade to Dragon.
We are however.. going to be offering a trade-in program much like we did with the R1 for Scarlet customers to get into an Epic Dragon.
So on the last day of the year of the Dragon, I am going to share with you a frame that was taken this morning.
Don’t look at image quality here… this is a dirty debayer with no black calibration, no offset correction and no processing on a special 21 stop DR Chart from DSC.
This is from a prototype ” Frankie ” Epic camera with a really, really expensive engineering lens that really, really sucks at taking pretty pictures, on a non-sealed lens mount ( hence the light bloom ) but it gives you a bit of an idea on just how powerful all your cameras are about to become.
“Real” Images coming soon… ( but not tonight )”
Hope to see more images soon and this post also hints at change in pricing for Epic Dragon Sensor upgrade program and hopefully end of Scarlet which leads to special pricing upgrade package for Epic Dragon from Scralet like the one which they previously announced for RedOne MX to Epic.