Manuale d’uso / di manutenzione del prodotto Projection HDTV del fabbricante ARRI
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ALICE COLOR MANAGEMENT Instruction Manual As of: April 2003 A LL ARTWORK , PICTURES AND TEXTS ARE COVERED BY OUR COPY - RIGHT . T HEY MUST NOT BE COPIED FOR REPROD UCTI ON ( E . G . ON CD-R OM D ISKS OR I NT ERNE T - SI TES ) OR USED IN THEIR ENTIRE FORM OR IN EXCERPTS WITHOUT OUR PREVIOUS WRITTEN AGREEMENT .
2 Contents Contents Sa fe t y I ns t ru ct i on s .. .. . . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . . 3 1 AL IC E A RR IL A SE R I nt er a ct iv e C on gu ra t io n E di to r .. .. . . .. .. . 5 2 Op er a t io n.
3 Contents Safety Instr uctions Caution: This manual is an addendum to the existing ARRILASER instruction manual. Please make sure to read the ARRILASER manual prior to continuing with this manual! 5 Co lo r Ma na g em en t f or V i d e o L oo k . . .
4 Introduction 1.
5 1 ALICE A R R I L A S E R I n t e r a c t i v e C o n f i g u r a t i o n E d i t o r The ALICE offers the fastest, easiest and safest way to generate a new image processing configuration file and gives visual control over the whole image process from the raw input sequence to the final images positioned on the film.
6 film view • pr oc es s ed view • original view • timeline • • projectable area • home button viewer area • • configuration area • pixel info • display settings Operation 2.
7 2 Operation T o start ALICE click the ALICE Button beneath the image processing configuration list in the input tab of ALGUI. An y p res e le c te d im a g e p ro c e ss i n g f il e wi l l b e a p p li e d i n A L IC E , a s l on g a s i t i s c o m pa t i b l e wi t h A L I CE ’ s c o n fi g u ra t i o n.
8 Timeline • T o c h a ng e t he d i s p l ay e d f r a me r a n g e , e n t e r th e s t a r t / e n d fr a me in th e c o r re s p on d in g te x t f i el d at t he be g i nn i n g and end of the timeline photo . The ‘ cur ‘ field shows photo the actual displayed frame number .
9 Projectable Area • By ch oos i ng an o ut p u t f or m at i n t he ‘ pr o j ec t ab l e a r e a ‘ photo , internally the corresponding ‘projector mask’ is selected. The ‘projector mask‘, the ‘save title area’ or both together can be activated.
10 input format • ouput format • calibration • • crop area • CMS • Sharpen • Deinterlace Operation 2.2..
11 2.2 Configuration Area Th i s cha p te r e x p la i n s a ll a va i l ab l e A L IC E no d es a nd t he i r pa r am ete r s i n a sy s t em a ti c wa y ac c or d i ng t o t he s ta n d ar d GUI configuration. It is mainly intended as a reference. In this window a configuration file for the image processing can be build.
12 Output Format • The determination of the ‘ output format ’ photo is a two-stage selection procedure: F i rs t th e d es i r e d p ro j e c t i o n a s p e c t r a t i o m us t b e c ho o s e n (i.e.: 1:2,35 CS means squeezed for projection with ci n em asc o pe le n s es ) .
13 Crop Area • W i th th e c r op n od e a ‘ cr o p a r e a ‘ p ho t o can be specified by t h e x / y- s i z e a n d t h e o r i g i n o f t h e c r o p b o x i n r e l a t i o n t o t h e o r ig i n al im a g e. By se lec t in g a p ro j e ct i on a sp e c t r at i o ( e .
14 Crop box handling with the aspect unlocked: If the image should not be cropped in order to get the se l ec ted ou t pu t fo r ma t t h e ´ l o ck as p e ct ´ bu t to n p ho t o can be switched off. This mode allows to only downsize the aspect ratio starting from the chosen ratio in the ‘ output format ’ node.
15 Right mouse button: T o r e se t th e cr o p b o x t o i t s d e fa u lt , t o m a xi miz e o r c e n te r th e c rop bo x u s e t h e r i gh t mo u s e b ut t o n, w he n t h e m o u se is located in the image area.
16 Deinterlace The ‘ deinterlace ‘ p ho t o node enables the merging of two fields of video originated frames. There are no arguments required. • For quick comparison between ‘ deinterlace ’ on/off toggle key D in the processed view mode.
17 CMS The Color Management system (‘ CMS ‘ p ho t o ) node is us ed t o a pp l y h i g h q ua l i ty p ro f il e s f o r s t an d a rd d ev i ce s such as Sony HD Monitor and Kodak Vision pri.
18 3 The File Menu ‘ Preferences ’ has three tabs: • Appearance : to adjust the background, perforation, film, soundtrack and frame line color in the film view . T ransparency of soundtrack and frame line can also be adjusted. The general ALICE font can be changed as well.
19 • ‘ Select sequence ’: The file browser opens and the sequence can be selected in the display . This change will also be returned to the ALGUI, if ALICE is left with saving. • ‘ Save configuration as… ’ will open the file menu. The actual image processing configuration can be saved without leaving ALICE.
20 4 Configuration 4.1 Naming Conventions in ALICE O n s t a rt u p, A L IC E an a l y ze s a l l co n f i g u r at i o n f i le s , d i r ec t o r i e s and environment variables relevant for recording. In addition to the information stored in the files, there are some conventions for naming files.
21 Inter Positive fullap geometries Geometr y files named ‘ ipfullap*.cfg ‘ are used as fullap geometries for intermed positive recording. For each supported pitch there must be one (and not more than one) ip fullap geometr y file. ALICE is installed with ip fullap geometries for all supported pitches.
22 4.2 Input Format File Specification Location of input format file The fully qualified path and filename of the input format file is specified in the environment variable ALICE_ INPUT_FORMA T_FILE. The suggested location is ‘ c: al al i ce co n f ig a li c eI n p ut F o rm a ts .
23 ################################################ # AR RI L AS ER AL IC E I np ut Fo rm at Co n g ur at io n F il e # # ARRI Film & TV # ################################################ # exa.
24 4.3 Fine-tuning ALICE Memory Footprint The amount of memor y ALICE consumes depends on the ma x im um i ma g e s i ze t o b e p r oc e s se d , a n d t h e m ax i m um size of its internal image cache. The image cache limit can be influenced by the environment variable ALICE_MEM_FRACTION.
25 4.4 Accessing DVS Disk Recorders T oge t he r wi t h A L IC E co m e s t he p os s ib ili t y t o dir e ct l y a c ce s s DV S H DTV an d S D T V d i sc re c o rd e r s. Di r e ct a cc e ss t o d i sc re c or der s i s a l s o p o ss i bl e vi a th e c o m ma n d l i ne i nt e rf ac e (CLIF).
26 4.4.2 Network Timeouts Whenever browsing file ser vers or disc recorders with the ‘Open Sequence‘ dialog in ALICE, or the ‘Browse” dialog in the ALGUI, waiting for inactive ser vers can be annoying. Therefore timeouts can be adjusted in the network tab ph oto of the preferences panel of ALICE.
27 4.4.4 Command Line Inter face Syntax Frames on a disc recorder can be accessed by the alexpose command as files, using the protocol-like filename convention: ‘ dr://<host name>/<partition name>/<clip name>/<frame number> ‘ e.
28 5 Color Management for Video Look 5.1 O p er at io n fr o m A LI CE 5 . 1 . 1 C o n f i g u r a t i o n o f C M S n o d e i n A L I C E • Choose monitor profile ‘ sony_hd ‘ from the list besi.
29 5.1.2 Soft clip Parameter As the color gamuts of film and monitor are different, not all colors that are visible on the monitor can be reproduced on film. In order not to lose too much detail in those areas, it is required that either the lightness or the chromaticity of these areas is reduced.
30 5.1.3 Display settings Proof : Since the color profiles directly generate cineon data, judging the effect of the Color Management on the screen can be difficult. Therefore, the proof mode allows for simulating the appearance of the recorded image on the workstation monitor .
31 in which those areas are indicated can be choosen (p r ef era b le a c o lo r wh i ch i s n o t s o p r es e n t i n t h e i m ag e s) an d ho w to s ho w t he d is t an c e of t ho s e col o rs t o the g am u t . fixed color : All out-of-gamut pixels are drawn with the out-of-gamut color selected in preferences.
32 5.2 Configuration 5.2.1 Monitor Setup Ca l ib rat i on of t he H D c la s s A r ef e re n c e m o ni t or The HD Monitor that has been used for the color timing sh a ll be ca l ib r a te d ac c or d i ng t o t he f ol l o wi n g g u id e l in e s: • The color temperature shall be 6500K • 100% white shall be at a luminance of 80 cd/m 2 .
33 5.2.3 Color Management Node The Color Management node is part of the ARRILASER im a ge pr o ce s si n g s y s te m . I t a l l ow s t h e u s e o f a l l f e a tu r es of the Color Management through its scripting interface. Please refer to chapter 5.
34 Node type identifier and node arguments The Color Management node is identified by the keyword ‘CMS’. Argument T ype Default Description monitor profile string - ICC profile to be used as monit.
35 5.2.4 Soft clip Configuration File Colors outside the recorder gamut cannot be recorded without changes, since they do not exist on film. By default, these colors are hard clipped into the recorder gamut. T o smoothly clip these colors, a compression of the monitor gamut has to be done.
36 For each entr y in the soft clip configuration file, the following parameters are valid: soft clip name of the setting, used as value of soft clip parameter of the CMS node.
37 Soft clip parameters demystified G a mu t co m p r es s i o n c an b e a c hi e v e d i n g e n e r a l b y r e d uc i n g th e c hro m a o f c o lo r s , t hu s mo v i ng co l o rs s li g ht l y t o w ar d s the gray axis.
technical data are subject to change without notice © ARRI 2003 available languages: English ARNOLD & RICHTER CINETECHNIK Türkenstraße 89 • D-80799 München Phone +49-089-3809-0 • Fax +49-089-3809-1244 www .
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il ARRI Projection HDTV è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del ARRI Projection HDTV - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso ARRI Projection HDTV imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul ARRI Projection HDTV ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il ARRI Projection HDTV, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del ARRI Projection HDTV.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il ARRI Projection HDTV. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo ARRI Projection HDTV insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
