Subtitles from Editorial to Digital Prints, TV & Mobile/Online platforms

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…

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.

Happy Subtitling.

You can purchase the following software from below links,

Title Exchange:

Annotation Edit:

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.

Stayzilla | Commercial | Colorist

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
Animator: Udaya
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

Why we need Invisible Watermarking in Post Production

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

  • identify the scene of the crime and repeat offenders
  • identify breaks in the chain of trust during the distribution process
  • improve the conviction rate and reduce the time and expense of litigation
  • act as a deterrent to future piracy

exhibition fingerprinting

exhibition fingerprinting


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:

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.

Currently in India Qube Digital Cinema provides secured forensic watermarking via Civolution NexGuard.

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.


  • Illegal copies of film are traceable to a specific cinema, screen and date/time  of projection
  • The watermark is imperceptible to the human eye and ear
  • Approved by the major Hollywood studios, the NexGuard – Digital Cinema watermark is very robust and can survive to in-theatre camcording and subsequent compression to low bitrates
  • Integrated into many leading 2K, 4K and 3D cinema server and projector brands
  • Fully DCI compliant D-cinema version
  • Video watermarking technology also available for E-cinema servers

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:

  1. Christie Digital Systems
  2. Dolby Digital Cinema (Dolby Laboratories)
  3. Doremi Cinema (Doremi Labs)
  4. GDC Technology (Global Digital Creations)
  5. MikroM GmbH
  6. Qube Cinema (Real Image)
  7. NEC
  8. Digicine ORISTAR Technology Development (Beijing) Co., Ltd.
  9. Sony’s Digital Cinema Solutions (Sony Electronics)
  10. Ultra Stereo Labs, Inc (USL)


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.

Why Blackmagic Pocket Cinema Camera will replace GoPro in Feature Films

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.

BMC Pocket Cinema Camera Wide Dynamic Range

BMC Pocket Cinema Camera Wide Dynamic Range

GoPro Hero3:

GoPro Hero3 Black Edition

GoPro Hero3 Black Edition




GoPro Hero3 Specs:


  • Ultra sharp ƒ/2.8 6-element aspherical glass lens
  • Ultra wide angle / reduced distortion
  • 2X Better low-light performance

Video (NTSC/PAL)

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

  • Video format: H.264 codec, .mp4 file format
  • White Balance: auto and manual

Photo Modes

  • 12, 7, 5MP resolutions
  • Burst: 30 photos per second
  • Continuous Photo: 3 photos per second, 5 photos per second, 10 photos per second
  • Time-lapse: 0.5, 1, 2, 5, 10, 30, 60 second intervals
  • Simultaneous Photo + Video:
    • 12MP + 1440p24 fps
    • 8MP + 1080p30 fps 8
    • 8MP + 720p60 fps


Battery & Charging

  • 1050mAh rechargeable lithium-ion
  • Charge via USB
Black Edition
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
720/60 1:25 1:10 1:20 1:10
1080/30 1:30 1:15 1:25 1:15
1080/60 1:15 1:00 1:05 1:00
1440/48 1:25 1:05 1:15 n/a
4k/15 1:30 1:10 1:20 n/a
2.7k/30 1:20 1:05 1:10 n/a
  1. Extreme cold temperatures may decrease battery life. For use in these conditions it is suggested to keep camera in a warm place prior to use.
  2. To maximize HERO3 battery life when shooting longer duration activities, it’s is best to use camera with LCD Touch BacPac turned off or unattached altogether. Turning off Wi-Fi will also help conserve power.
  3. Using protune mode will increase power consumption. May vary per mode and camera edition.



  • Mono, 48kHz, AAC compression w/ AGC
  • Supports optional 3.5mm stereo mic adapter **



  • Memory:
    • MicroSD class 10 or higher required
    • Up to 64GB capacity supported
  • Record times will vary with resolutions and frame rates

Blackmagic Pocket Cinema Camera:

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera

A true Super 16 digital film camera that’s small enough to take anywhere!

  1. 13 Stops of Dynamic Range in true digital film like images
  2. Super 16 Sensor Size
  3. Lossless CinemaDNG RAW & Apple ProRes
  4. Micro Four Thirds Lens Mount
  5. 1080p HD Resolution to SD Cards
  6. 3.5″ LCD at Back
  7. Professional Connections include micro HDMI out, mini jack microphone input like AV Style microphones, mini jack headphone for audio monitoring, LANC control input for remote operation and removable rechargeable battery with 12V DC input.

Blackmagic Pocket Cinema Camera Accessories are already ready for shipping from Wooden Camera –

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera













Blackmagic Pocket Cinema Camera - MFT Lens Mount

Blackmagic Pocket Cinema Camera – MFT Lens Mount




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 develops 35 mm full-frame CMOS sensor for video capture

Canon Official Press Release dated March 4,2013:

Canon develops 35 mm full-frame CMOS sensor for video capture

  • The newly developed 35 mm full-frame
    CMOS sensor for video use
  • Prototype camera incorporating the newly
    developed 35 mm full-frame CMOS sensor

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 (, 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