Published on Tuesday, 15 April 2014

 

Marquise Develops 4K Mastering and QC for Digital Cinema & TV

At NAB 2014, post-production developer Marquise Technologies demonstrated their products working together in a 4K workflow that includes capture, dailies management, conform, real-time colour grading, DCP and IMF mastering, and content quality control.

The most recent iteration of Marquise MIST, the company’s Media, Ingest, Stream and Transcode system, is MIST Master, a turnkey system for content mastering of all types of deliverables - Digital Cinema, Interoperable Master Format or AMWA-specified packages - with a high level of automation and integration. It is not only a stand-alone workstation, but also able to handle material from acquisition to delivery, and to report on each stage of processing.

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MIST's capture capabilities have been upgraded to support 4K HFR material and to directly capture video streams in AS-02 JPEG2000 or MXF Op 1A JPEG2000, making it suitable for broadcasters and digital preservation institutions. By supporting the latest IMF specification ST2067-5-201, creation and exchange of multiple versions is made more efficient and easier to follow using the node-based FlowGraph tool to visualise the process.

Mastering for broadcasters is now expanded with the support of AMWA AS-02 and AS-11 UK DPP Shim specifications for deliveries. The DPP guidelines require files delivered to UK broadcasters to be compliant with a specified subset, the DPP shim, of this file structure, which is now internationally recognised. MIST has also gained Digital Vision's DVO image restoration and enhancement tools, recognised as among the best for image manipulation.

Marquise is also supporting the JPEG2000 encoding/decoding PCI-Express boards designed by Image Matters, hardware and software developer for extreme imaging applications, for MIST Master. The new support opens up options such as mathematically lossless coding/decoding or ultra-low latency.

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Marquise regards JPEG 2000 as an important codec in image mastering when the workflow involves HFR and 4K, which make encoding and decoding very time-consuming and therefore expensive. Combined with the 4K 60 fps encoding capability of this engine, MIST Master can help make the mastering workflow more efficient.

Introduced late last year, the ICE Image Control Engine is a quality control player. Able to immediately play back most file types from SD to 4K including DCPs, IMF packages, RAW data, mezzanine or uncompressed formats without prior ingestion, ICE is designed for monitoring content for Digital Cinema or UHDTV broadcast.

DCP and IMF validation through assessment of package compliance and integrity, automatic resizing, colour space conversions for REC2020, ACES, DCI XYZ, and playout on HD to 4K monitors or 2K/4K DCI projectors are among the ICE’s main features, now extended with direct playback of encrypted DCPs.

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Marquise colour grading system RAIN also fits into mixed workflows with support for monochrome ARRIRAW, F65, F55, Sony XAVC & SRMaster. HEVC/H.265 is among the key codecs processed in real-time, at 4K and beyond. New this year is the ability to render a completed project directly into a DCP.

CEO Laurence Stoll at Marquise Technologies said, "Mastering and monitoring high-resolution and HFR deliverables for UHDTV and 4K DCI processing often creates a bottleneck in a facility’s workflow. MIST Master, RAIN and ICE Player are made to handle these tasks with efficiency, flexibility and reliability.” At NAB 2014, visitors saw demonstrations of the new developments including 4K capture using MIST Master, the integration of DVO tools, 4K colour grading with RAIN and 4K DCP QC using ICE.  www.marquise-tech.com