Colorfront Updates On-Set Dailies System

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Wed, 03/28/2012 - 20:00 -- Nick Dager

Colorfront has released the Winter 2012 version of its On-Set Dailies system introducing real-time 4K display of dailies for motion picture productions using the new generation of high-end cameras flooding the digital cinematography market. The 2012 Winter release enables cinematographers to dispense with traditional HD monitoring and review and allows them to work with 3K 4K and 5K Raw material in post-ready 4K quality to realize their creative vision – either on-set near-set or at their favorite facility – while also providing final post-quality dailies instantly to the production. As feature-film makers adopt higher frame-rate capture (on motion pictures such as Avatar sequels and The Hobbit) On-Set Dailies also delivers Raw DPX and 16-bit TIFF file format support for 2D and 3D stereoscopic projects shooting at 48/60fps. Colorfront On-Set Dailies delivers an all-embracing approach to digital dailies workflow by integrating production-proven tools for dailies work – including playback and sync QC color grading audio and metadata management – with state-of-the-art color and image science and the delivery of simultaneous faster-than-real time deliverables in all common file formats. The On-Set Dailies Winter 2012 release includes file format support for the new generation of digital cinematography cameras including Sony’s F65Raw SRFile (SStP) and XDCam EX Red Epic R3D Alexa Studio 4K Anamorphic Canon C300 Panasonic P2 and GoPro. Now Colorfront On-Set dailies can be integrated with 4K projectors – such as the Sony SXRD the new 4K DLP projectors from Christie Barco and NEC – and any of the 4K monitors being released to provide a full 4K display workflow from the set and into post production. “There is now no reason why a DP shooting with Red Epic Arri Alexa or Sony F65 for a 4K digital cinema release should have to manage with an HD image ” says Aron Jaszberenyi managing director of Colorfront. “New generation digital cinema cameras feature 3K/4K/5K/8K sensors and capture way beyond HD and also output Raw sensor data for external processing. Combining On-Set Dailies in a 4K workflow with 4K monitors or DLP projectors gives cinematographers greater accuracy and confidence as they are shooting. They can see their rushes on-set on the day of the shoot in the best DI finishing quality on a 4K projector or monitor. Also as motion pictures are now going beyond 24fps for shooting On-Set Dailies offers the required performance for high frame-rate stereo playback including 48/60fps.” Colorfront