On-Set Dailies User Guide

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1 On-Set Dailies User Guide Document revision Copyright All Rights Reserved. 1

2 Table of Contents 1 On-Set Dailies Introduction About On-Set Dailies Accessing On-Set Dailies Website Contacting Customer Support Installation and Configuration System Requirements Hardware Configuration HP Z Apple Mac Pro Driver and Third Party Applications Installation HP Z Apple Mac Pro On-Set Dailies Installation HP Z Apple Mac Pro Typical Configuration Overview for On-Set Dailies OSD Master OSD Sync OSD QC OSD Render OSD Grade Creating new OSD icons for each roles on your Windows desktop On-Set Dailies Background Render Installation Configuring Background Render Upgrading the Software Upgrading database scripts on the centralized DB server Removal of the Application Z Apple Mac Pro Licensing Background Render Licensing Configuring Control Panels Tangent Wave Tangent CP

3 Tangent Element...17 Source Files and Metadata Handling Camera Source Formats Codex XML...19 Project Management Creating a project Loading a timeline Loading the source media container: tapes, cards, magazines or labrolls Loading VTRolls Screeners EDL CUT CUT with Handle XML Stereoscopic Project Multiple Camera Format Project Folder Structure Definition Project Creation Timeline Load Project deletion Project Web Page Customize the project webpage or scripts for a single project Customize the default webpage or scripts that applies to all new projects Background render web page Project and Database Backup/Restoration...26 Node Page Node Process Template Node Pipeline Grade Template Camera Template Viewing Template Nodes Output Result Adding New Result Selecting Result Deleting Result Enable Result to Video Output...30 Edit Decision List Handling Import Edit Decision List via Project Web Page Delete EDL from the database

4 7 Stereoscopic 3D Setting Up a Stereo Project Stereo node Pipeline Stereoscopic Tools Stereography Node Manually adjust the image Floating Window Geometric Matching Auto-Correction and Analyse Tools Analyse Auto-correct StereoGain Node StereoFuse Node StereoDominant Node StereoSplitRGB Node StereoMergeRGB Node StereoDeFuse Node Working with VTRolls Head Slate for VTRolls Assembling custom timelines Quality Check Color Grading Look-Up Tables Importing Look-Up Table Exporting Look-Up Table ASC Color Decision List CDL-EDL load CDL/CCC import Exporting CDLs Looks and Look Stores Look Presets Look Stores Green Look Store Blue Look Store Red Look Store Orange Look Store ARRI Look XML workflow ARRI Look Pipeline Printer Light Node ARRI Look Node

5 Color Decision List node ARRI Look XML import ARRI Look XML export Reference Still Input Reference Still Export Reference Still ipad On-Set Color Workflow Audio Synchronization and Mixdown Setting metadata and sound sync Automatic Audio Synchronization Timecode Based Audio Synchronization Manual Audio Synchronization Audio Mixdowns Create new mixdown Define channel mapping Remove mixdown Use mixdown of another project Rendering with mixdown Deliverables Setting up deliverables Custom Deliverables customencoders.xml encode.xml Setting up post-scripts Proxy (Clone) workflow Rendering Temporary Render Flag Rendering Timeline Background Rendering Command Line Rendering Post Scripts DVD and Bluray generation Generating DVD Generating Bluray Video Input/Output Settings Page ARRI Audio Base Conform

6 16.6 DVD Encode Film Grade GUI Metadata QC RED Reference Slate Startup Stream User Video VTRoll Keywords Burn-in keywords Keywords for deliverable path and filename definition Short Cuts Menus & keyboard shortcuts View Screens Pages Navigation Looks Metadata/Sync QC Editing Setting Tool Parameters Help Control Panel Layouts Tangent Wave Tangent CP200 Modular Panels CP200-BK Primary node CP200-K Primary node Sector node RGBlin node Tangent Element

7 20 Interoperability On-Set Dailies and Avid Media Composer workflow Importing MXF and Broadcast WAV files with AAF files Importing MXF and AAF files only Troubleshooting On-Set Dailies APPENDIX

8 1 On-Set Dailies Introduction 1.1 About On-Set Dailies On-Set Dailies is a dedicated dailies system, designed to deliver color graded sound sync dailies from multiple hours of footage for multiple deliverables rendering either in foreground, or in the background by means of On-Set Dailies Background Render application. 1.2 Accessing On-Set Dailies Website All of the information with regard to On-Set Dailies software application can be found at On-Set Dailies website, 1.3 Contacting Customer Support On-Set Dailies Support availabilities are: Web: Phone (US): Phone (EU): Skype: support.colorfront.com colorfrontdev 8

9 2 Installation and Configuration This chapter describes the setup of the supported hardware platforms, the installation procedures of necessary driver components, third party software, and the On-Set Dailies application itself, as well as it details how OSD needs to be configured for each dailies work phases as sound synchronization, metadata input, or color grading. 2.1 System Requirements Hardware Configuration Operating system: The On-Set Dailies (OSD) software requires Windows 7 Professional 64-bit operating system. Workstation: The hardware supported is HP Z800 workstation, with dual 4 or 6 core processors, with a minimum of 12GB RAM. Graphics: The system requires NVIDIA Quadro 4000 preview card PLUS either a Geforce GTX 590, or an NVIDIA Tesla C2050 card to function properly - no other graphics configurations supported at this time. Note: please make sure display monitor is connected to Nvidia Quadro 4000 display card and not to Tesla C2050 GPU or Gefore GTX 590 processing card. Video: Video output via HD-SDI requires DVS Atomix / AtomixLT video card or RED Rocket card. Note: before use, please make sure license for Windows is installed on the DVS video card! Monitor: For proper color managed display, the HP DreamColor display is used, calibrated to HD Rec 709 color space. Storage: The OSD software uses open storage for media, and the system should have fast enough storage for real-time playback HP Z800 The recommended PCI card order in the HP Z800 workstation is the following: Slot# Slot Type Card 9

10 2 PCIe2 x16 Quadro 4000 display card 3 PCIe x8(4) Network Card [optional] 4 PCIe2 x16(8) Red Rocket or DVS Atomix Video Card [optional] 5 PCIe2 x16 Tesla C2050 or Nvidia Geforce 590 GTX GPU processing card 6 PCI 32/33 covered by Tesla or GTX 590 card 7 PCIe x16(8) Storage Card like Fiber, SAS, etc. [optional] For Red Epic mono/stereo projects, the recommended PCI card order in the HP Z800 workstation is the following: Slot# Slot Type Card 1 PCIe2 x8(4) Storage Card like Fiber, SAS, etc [optional] 2 PCIe2 x16 Quadro 4000 display card 3 PCIe x8(4) DVS Atomix Video Card 4 PCIe2 x16(8) Red Rocket Card 5 PCIe2 x16 Nvidia Geforce GTX PCI 32/33 covered by Nvidia Geforce 7 PCIe x16(8) Red Rocket Card There are different cables near slot #7, which can stop the cooling fan of the Red Rocket card, so special care should be taken when installing this card. Also there is very little space between cards, so the system fans feeding air to these cards should be set to maximum rpm in BIOS, and the machine should be in an actively cooled environment, otherwise the cards, especially the Red Rockets could overheat. You need to have two power extenders with the GTX 590, which converts from 2x3 to 2x4. There are two power cables coming from the Z800 power supply. The GTX 590 needs a lot of power, so you should connect both cables to it with the extenders Apple Mac Pro Operating system: The On-Set Dailies (OSD) software requires 32-bit OS X operating system version or higher. 10

11 Workstation: The supported platforms are the MacPro3,1 MacPro4,1 and MacPro5,1 (2008, 2009, 2010). Graphics: The system requires at least one NVIDIA Quadro 4000 card for Mac to function properly. Dual NVIDIA Quadro 4000 configuration can be also setup by inserting two NVIDIA Quadro 4000 cards. If you have don't have the Quadro card available the NVIDIA GTX 285 may also work or other CUDA capable cards which have at least 1 GB onboard memory. Storage: The OSD software uses open storage for media, and the system should have fast enough storage for real-time playback. Control panel: The only supported control panel is the Tangent Devices Wave panel. Video: Video output via HD-SDI requires DVS Atomix / AtomixLT video card or RED Rocket card. Note: before use, please make sure license for Mac is installed on the DVS video card! On the MacPro4,1 install the Quadro 4000 card to the lowest PCIe x16 slot and the optional Red Rocket or DVS Atomix Video card to the second lowest PCIe x16 slot. For dual Nvidia Quadro 4000 configuration, place two Nvidia Quadro 4000 Mac graphic cards into slot1 and slot2 (PCIe x16 slots) - Connect the monitor to Quadro 4000 which is in slot1 - Set "DisplayCudaId" parameter to 0 in startup.xml, like this: <DisplayCudaId type="int">0</displaycudaid> - Change "ResultThreadNum" parameter to 2 in startup.xml: <ResultThreadNum type="int">2</resultthreadnum> Note: startup.xml file can be found under/applications/osd directory. 2.2 Driver and Third Party Applications Installation HP Z800 Installer Package Name Comment osdxxxx.msi On-Set Dailies software installer AvidCodecsLESetup2.3.7.zip Avid QuickTime codec installer 11

12 xampp-win exe XAMPP installer QuickTimeInstaller.exe Quick Time codec installer desktop-win7-winvista64bit-english-whql.exe Nvidia driver installer RED_Rocket_Installer_v zip RED Rocket v driver, firmware dvs zip DVS Atomix driver HyperThreading in the BIOS of the Z800 can be enabled. If it is enabled, upgrade Avid Codec Pack to version 2.3.7, which is downloadable from the download website (AvidCodecsLESetup2.3.7.zip). 2. Please check, if the required NVIDIA driver is the current one. If not, please install. In NVIDIA Control Panel, these need to be set: Global presets: 3D Settings --> Manage 3D Settings --> Base profile CUDA - GPUs - All Multi-display/mixed-GPU acceleration - Single display performance mode OpenGL rendering GPU - Quadro 4000 Power management mode - Prefer maximum performance Under "3D Settings" --> "Use multi-gpu and Physics configuration": Change "Physics settings" - CPU 3. Please verify, if QuickTime 7 is installed. If not, please install it. Also install the Avid QuickTime codecs, if not present. 4. For systems acting as the database server, please install the XAMPP package under the C:\. This will install PHP, MySQL, Apache on your system. Make sure the Apache and the MySql services are running in the XAMPP control panel. 5. If you have the DVS Atomix card present, and would like to use it for video output, please download and unzip the DVS components into a directory. Then go into the win64/bin directory under the uncompressed directory. Start here the dvsconf.exe and click on the Install button in Driver section. This will install the driver. 6. If you have Red Rocket card present, latest driver as well as firmware need to be installed. Please install or upgrade the firmware first, and the driver afterwards as follows: The Red Rocket cards need to be upgraded to firmware version and to driver version The driver package including the new firmware is downloadable from 's OSD download website. Note: In case of Red Epic stereo project, the two Red Rocket cards have to be upgraded one by one, meaning that the upgrade procedure has to be performed on one card first (the second card shall be removed from the system), once the upgrade is complete, this card has to be removed, and the other card needs to be put in and make the upgrade on that as well. The upgrade procedures are: 1. Upgrade the driver first: 12

13 - Right click on My Computer on Windows 7 desktop - Select "Manage" and then Device Manager, and "Sound, video and game controllers" - Right click on RED Rocket card and choose "Browse my computer for driver software" - Browse for "REDrocket_Driver_Win_v " folder and click Next and then Close 2. Only after driver upgrade has successfully completed upgrade the firmware as follows: - Start "Install Frimware.bat" from folder REDrocket_Win_firmware_ " - Press "Y" for upgrading the firmware - When upgrade completed, shut down the machine. Note: machine must be shut down, restart is not sufficient! - Reboot the workstation 7. Bybass proxy server shall be checked in: Start -> Control Panels -> Network and Internet -> Internet options -> "Connections" tab -> LAN Settings -> check the "Bypass proxy server for local addresses" box Apple Mac Pro Installer Package Name Comment osdxxxx.pkg On-Set Dailies software installer AvidCodecsLE.pkg Avid QuickTime codec installer xampp-macosx dmg XAMPP installer CudaDriver.pkg CUDA driver cudatoolkit_3.2.17_macos.pkg CUDA toolkit cudadriver macos.dmg CUDA driver for Mac OS X Retail_ f03v5.dmg Nvidia driver installer Retail_ f03v7.dmg Nvidia driver installer for Mac OS X Retail_ f1v1.dmg Nvidia driver installer for Mac OS X RED_Rocket_Installer_v zip RED Rocket v driver, firmware dvs _mac.zip DVS Atomix driver Install the Nvidia driver - see the "Nvidia Install Driver" document Install the CUDA Driver Install the CUDA toolkit Install Avid QuickTime codecs For systems acting as the database server, please install the XAMPP package. This will install PHP, MySQL, Apache on your system. 13

14 Make sure the Apache and the MySql services are running in the XAMPP control panel. Check the "Use all F1, F2, etc. keys as standard function keys" under Preferences/Keyboard Check Web Proxy Server is disabled under Preferences/Network/Advanced.../Proxies. If you have Red Rocket card present, latest driver as well as firmware need to be installed. Please install or upgrade the firmware first, and the driver afterwards as follows: The Red Rocket cards need to be upgraded to firmware version and to driver version The driver package including the new firmware is downloadable from 's OSD download website. 1. Upgrade the driver first: Execute driver package" REDrocket_Driver_OSX_v pkg" from../red_rocket_installer_v1.4.19/red_rocket_macosx/ directory. 2. Only after driver upgrade has successfully completed, upgrade the firmware as follows: - Start "Install Frimware" from folder "REDrocket_OSX_firmware_ " - Press "Y" for upgrading the firmware - When upgrade completed, shut down the machine. Note: machine must be shut down, restart is not sufficient! - Reboot the workstation Please check in the XAMPP controller that the mysql and the Apache daemons are running NOTE: In order to run OSD the database server must be reachable, by default it is localhost. Make sure your firewall settings do not prevent this. 2.3 On-Set Dailies Installation HP Z800 Finally, please install the On-Set Dailies software from the osd<release verison>.msi file. You need to install the software for Everyone. The installation enables the Administrator account, sets its privileges, so after the installation you should restart the system and log on as Administrator to use the system. Once the installation is complete, you are ready to start using the system Apple Mac Pro Install the On-Set Dailies software from the osdxxxx.pkg file. You should restart the system to be able to use it Typical Configuration Overview for On-Set Dailies OSD Master 14

15 Master role can save everything like grade and viewing templates, encode templates, grade, audio sync and timeline metadata OSD Sync Sync role can save timeline metadata, audio sync, encoder template, viewing template and can not save the grade template and the grade OSD QC QC role can save the viewing template the QC metadata and can not save the grade template the encoder template the timeline metadata and the audio sync OSD Render Render role can save the encoder template, viewing template and can not save grade template, and grade metadata, audio sync and timeline metadata OSD Grade Grade role can not save audio sync, timeline metadata and encode template. You can save grade and viewing template and the grade metadata Creating new OSD icons for each roles on your Windows desktop Follow the instructions below to create "OSD Render" icon on your desktop. 1) Go to C:\Program Files (x86)\dailies directory and open startup.xml 2) Find Role section in it:.."role based permissions">master</role> 3) Change the actual role to "render" like this:.."role based permissions">render</role> 4) Save the xml files as startup_render.xml 5) For creating a new OSD Render shortcut, right click on the Windows desktop 6) Select New --> Shortcut --> Browse for osd.exe under C:\Program Files (x86)\dailies\bin directory 7) Type "OSD Render" as shortcut name and save it 8) Once the new shortcut is created, right click on it and select Properties 9) Add the startup_render.xml to Target field as follows: Target: "C:\Program Files (x86)\dailies\bin\osd.exe"..\startup_render.xml 10) Click OK Create new shortcuts for Master, Grade, Sync and QC roles as well. 2.4 On-Set Dailies Background Render Installation On-Set Dailies Background Render is installed along with the On-Set Dailies installation package. After the installation, you can find render folder under the C:\Program Files (x86)\dailies\ directory containing the application. 15

16 OSD Background Render is lauched by rendertray.exe from render\bin folder. Shortcut of the rendertray is installed under the startup directory of the current user, which makes the tray application start and stop automatically when the user logs on and off. Start of the tray application does start, the exit of the tray application does stop the background render service, called OSD Background Render in the service list Configuring Background Render On-Set Dailies Background Render can be configured as follows. You may need to modify the parameters of CommandLine section in MonitorService.ini under render\bin folder. Set the address of your database server as the -h parameter and also check the database user name and password - these are fugu / fugu by default - using the -u and -p options. Examples: -h u root -p password -d projects -t renders -r C:/Program Files (x86)/dailies -h localhost -u root -p password -d projects -t renders -r C:/Program Files (x86)/dailies Similarly to OSD Main application, the IP address (or host name) of the database server must be set in the startup_template.xml of OSD Background Render application under render\config folder. This template will be used to generate the startup.xml for the background render jobs. Enable BackgroundRenderCompatible under Settings/Startup tab, if you want to use OSD Background Render on the same system as the OSD Master application. IMPORTANT NOTE: If OSD Background Render wants to be used on the same machine as the OSD Master Application, it is recommended to upgrade system memory to 24GB! 2.5 Upgrading the Software To upgrade On-Set Dailies, simply run the installer of the newer version On-Set Dailies application and follow the installation instructions on both Windows 7 and on Mac OS X Upgrading database scripts on the centralized DB server If the database server is running on centralized Linux database server, upgrading of the database scripts has to be performed as follows: 1. Upgrade On-Set Dailies on the workstation 16

17 2. All the directories and scripts from the C:\xammp\htdocs\ (Windows), or /Applications/XAMMP/htdocs (Mac OS X) folder has to be copied over from the OSD workstation to the Linux database server under \var\www\html directory. Note: for the running projects, copy and overwrite scripts from..\htdocs\baseproject\ to the folder of the project under..\htdocs. 2.6 Removal of the Application Z800 You can remove On-Set Dailies from Control Panel\All Control Panel Items\Programs and Features of Windows Apple Mac Pro Move /Applications/osd directory to Trash. Before moving it, make a backup of your license, lut, and dvd folders. 2.7 Licensing Once the software and required components are installed, you are ready to receive the OSD software licensed. You need to request a valid license, by finding your host ID for your system, and ing it to To find your host ID, please start the OSD software by double clicking on the OSD icon on your desktop. The system will look for a valid license, and if it is not found, it will write out your host ID. For your convenience, the host ID is also copied to the clipboard. this host ID to receive the license. Once the license is received, please place it in the license subdirectory of your OSD install directory, as osd.lic. Now you are ready to start your first project Background Render Licensing You need to have license for the OSD Background Render application. your host ID of the background render system to The osd.lic license file will be sent via to you. Copy it to license folder under the home directory of On-Set Dailies. If you have valid On-Set Dailies license, then you can use On-Set Dailies Background Render application with the same license on that system. 17

18 2.8 Configuring Control Panels Tangent Wave To connect Tangent Wave panel to OSD workstation, you need to have one USB Type A to USB Type B cable. Connect the USB cable to the control panel and to the USB plug of the OSD system. WAVE has to be selected as PanelType on the Settings/GUI tab in OSD Tangent CP200 The network connection of Tangent CP200 control panel has to be adjusted as follows: 1. Network switch used by CP200 has to be connected via an UTP cable to the Z Go to Control Panel --> Network and Sharing Center --> Change adapter settings on Windows 7 3. Right mouse click the adapter where CP200 is connected to, and select Properties 4. Double-click "Internet Protocol version 4 (TCP/IPv4)" 5. Select "Use the following IP address"-t and enter the following IP addresses. IP address: Subnet mask: Click OK. In OSD, the followings have to be set for Tangent CP200 control panel. 1. Under Settings/Startup : CP200PanelIPAddressPrefix: CP200PanelIds: enter the panel IDs here separating them by comma. Eg: 2100,2101, Under Settings/GUI tab, select CP200 as PanelType Tangent Element Tangent Element panels can can be connected to the On-Set Dailies system via USB 2.0-A to Mini-B Cables separately, or all together via USB 2.0 Hub. ELEMENT has to be selected as PanelType on the Settings/GUI tab in OSD. 18

19 3 Source Files and Metadata Handling 3.1 Camera Source Formats On-Set Dailies is capable of handling the following camera formats: ARRI ALEXA and D-21 ARRIRAW ARRIRAW 4:3 Anamorphic ProRes 4444/422 MOV RED ONE, RED EPIC, RED SCARLET REDCODE RAW in full 5K resolution HDRx RMD files SONY F65 F65RAW Simple Studio Profile (SStP) Canon C300 Canon MXF Indicam Indicam RAW in MOV SI-2K Cineform RAW in MOV Note: third party Cineform codec pack has to be installed onto the system. GoPro MP4 Panasonic P2 MXF SONY XDCAM MXF, MP4 Phantom Flex, HD Gold and 65.cine RAW 19

20 H.264 QuickTime THM files iphone 4/4S H.264 QuickTime MOV Uncompressed media Open EXR 16 bit DPX 10bit (RGB, YUV) TIFF 16 bit 3.2 Codex XML One can import the Codex metadata associated to the shot by placing the codex xml in the media folder (or above if there are no additional media folders there). To burnin the Codex data please use custom keywords such as: $codex1:created$ $codex1:scene$ $codex1:director$ The available fields are: ID UniqueID UUID Created Scene Take SourceId ProductionName Director DirectorOfPhotography ProductionUnit Location SourceType SourceDevice SourceSerial CircleTake Comments IntExt DayNight TStop Shutter Lens LUT Interaxial Convergence StereoUuid StereoEye OriginalRoll ShotName RightEyeUuid Rate Samples StartTc SourceFirmwareRev SourceCamId WhiteBalance GreenTint ExposureIndex SourceRevision OriginalFrameRate CDLData RSlope ROffset RPower GSlope GOffset GPower BSlope BOffset BPower Saturation The Codex information appears in fields at the end of each line in the ALE. If one needs to change this the ALE generator script needs to be customized. If there is CDL information coming through the codex XML the user can apply that to shots by pressing Shift+G and choose Codex CDL. 20

21 4 Project Management 4.1 Creating a project 1) Start the OSD software by double-clicking on the OSD icon on the desktop. 2) Now that the licensing is done, and all components are properly installed, the software should start. 3) After the On-Set Dailies logo fades, the project page appears. Since this is the first time, there are no projects, and you need to create a new project. 4) Create a new project, specifying the short name of the project, and the disk location where the project media will be located on your storage. 5) All projects have a master framerate, either , 24, or 25 FPS, that you will need to set for every new project. Film projects are most often 24 FPS, while US digital projects are FPS, while European (PAL country) digital projects are often 25 FPS. 6) Once the project setup is started, the software will create the new project in the database, ready to use. This requires the database to be up and running, so that is essential to have the XAMPP package installed and the database started before running OSD. NOTE: You can check your database in a browser under 7) If the file directory for the project does not exist, the software will create it. If it exists, it will immediately start to parse footage under the project. 8) Place dailies footage into the media directory of the project, if there is no footage there yet and restart the application. 9) Media (tapes, disk packs, labroll scans, SxS cards, etc.) should be in a date directory under your project directory. That is, any type of media container directories are located under the current date directory (called TransferDate in the database). This allows easy organization of the media on a daily basis. Sample: /projects/myfirstmovie/ /card001/*.mov /projects/myfirstmovie/ /card002/*.mov /projects/myfirstmovie/ /tape01/capture/*.dpx 21

22 10) The software will parse and show media ready to be worked on. Upon starting the application select one container with media from the list. If you want to work on a day other than the latest, click on Dates to select another day. 11) Since this is the first time you start to use media in the new project, the Processing Template Wizard will appear. Select your required processing tools and color space: film shot projects use log, ARRI Alexa and D21 are most often LogC, Sony F35 and F23 projects can be SLog, while Panavision Genesis shows most often work in Panalog color space. By pressing Create the node templates are saved and also applied to all shots. You can see them by pressing <Enter> 12) You should see your media, ready to start work with it. 13) If more help is needed with keyboard shortcuts, the help screen is located on the <F12> key. 4.2 Loading a timeline There are several options to load a timeline into OSD. On the bottom center of load page users can define the loading unit. Please note, that for all timeline types it is possible to load only the select takes Loading the source media container: tapes, cards, magazines or labrolls The source container name, such as Tape, Card, Magazine or LabRoll can be set in the GUI section of the settings editor. This is the basic shooting/transfer unit. All material is loaded like this for the first time. The name of the container is taken from the folder name (directly under the current transfer dare) Loading VTRolls If manual VTRoll definition is enabled in the settings page (TAB), users can assemble VTRolls on the VTRoll page. These are containers with their unique name and timecode to re-organize the source media Screeners Users can define up to 4 custom timelines, called screeners, for each day on the VTRoll/Screener assign page (V). It is also possible to load all shots for the given transfer day EDL 22

23 EDLs should be first uploaded to the project database on the project website. The EDL table of the project database stores all shots corresponding to EDL events. Upon loading one of the uploaded EDLs the system identifies the corresponding shots in the shots table based on tape name and timecode. The assembled timeline will have live grades on it, meaning further grading or other parameter adjustment is possible. Upon exiting or saving the EDL timeline will be saved as a cut in the cuts table. Cut timelines can be further edited from the sytem, while EDLs can be not CUT Based on imported EDLs the system creates cuts, which are timeline edits. These can be further edited when loaded CUT with Handle Previously imported EDLs can be also loaded with handle by selecting Cut /w handle on the load page. Start and end handle in frames can set in EDLHandle parameter under the Settings/Conform tab XML For any timeline load from the database a temporary XML is created in the watch folder. It is possible to load any of these temporary XMLs later in XML load mode. Warning: these XMLs may be out-of-date from the database and they are not saved back to the DB either. This is feature is primarily for engineering/support purposes. 4.3 Stereoscopic Project Refer to chapter 7 on how to create a Stereo project in On-Set Dailies. 4.4 Multiple Camera Format Project Productions can use different camera brands/types (Red, ARRI, Canon, etc.), different lens setups (anamorphic) or different stereo rigs during a shooting. Footage coming from different sources can be handled within one project in On-Set Dailies. Each format may have its custom node setup to deal with special color space transforms or image transformation. Please refer to chapter xxx about defining these node structures Folder Structure Definition For multiple camera format project, new directories having the names of the camera formats have to be defined under the date folders of the project ( Figure 4-1). These names can be arbitrarily, there is no predefined set of keywords. 23

24 Figure 4-1. Folder structure under the date folder Project Creation To create multiple camera format project, Multiple Camera Formats option ( A, Figure 4-2) has to be enabled on the project creation page. Figure 4-2. Multiple Camera Formats option Timeline Load After the multiple camera format project is created, your previously defined camera format folders (B, Figure 4-3) appear on the right of the camera roll load page. Tapes/camera rolls/etc. appear on the left of the camera roll load page (A, Figure 4-3). The last three loaded tapes/camera rolls/etc are highlighted in dark/dimmed/light blue on the camera roll load page (C, Figure 4-3) 24

25 Figure 4-3. Camera roll load page 4.5 Project deletion Obsolete or closed projects which are not used anymore can be deleted by clicking on the Delete Project button on the project creation page. For confirmation, click Erase button in the confirmation dialog window, or if you want to abort the operation, press Cancel. At project deletion, all the grades, metadata will be deleted from the hard drive as well as from the database. 4.6 Project Web Page Every project created in OSD has a webpage on the URL: where localhost is to be replaced with the IP of the database server. You can use this webpage to do the following tasks from any computer having access to the databse server: - Update the default value of the ShootDate and ShootDay metadata. Use this to set the new shoot day/date every day before processing the day s dailies. - Update ShootDate and ShootDay metadata: use this to set the metadata of already parsed/loaded media in the database. - Generate PDF report: generates the QC report for the day. You can fully customize this by adding your custom logo or changing the table itself. - Upload EDL: these EDLs after uploading are available as a timeline inside OSD. - Generate FLEx file - Generate ALE file 25

26 - Generate Final Cut XML file - Generate Lustre Cut and deliverables file Customize the project webpage or scripts for a single project The project webpage can be customized by adding custom scripts to it or changing the current script files. The location of the per-project webpage and script files: (Windows) C:/xampp/htdocs/<yourProject> (Mac) /Applications/XAMPP/xamppfiles/htdocs/<yourProject> If you need to customize only one particular project, feel free to edit the per-project webpage and script files. These are not overwritten or changed by the OSD installer ever Customize the default webpage or scripts that applies to all new projects The default project webpage should be customized only by adding new custom scripts to it. The default php files should not be edited as those are overwitten when installing a new OSD build. The location of the default webpage and script files: (Windows) C:/xampp/htdocs/baseproject (Mac) /Applications/XAMPP/xamppfiles/htdocs/baseproject For customizing the default webpage you first need to rename the customscripts.example.php file to customscripts.php. Editing this file you can see how to add a new section to the project webpage. You will also need to create a new php file that executes the required database manipulation or query. In the example file you can see how to define the interface for the date updater script on the webpage. To see simple examples on how to modify the database please see the DateUpdater.php, for an example on report generation from the database see the FuguXMLGenerator.php Background render web page Submitted render jobs can be checked on the project web page under "render": or address of the database server>/render You can select one render job, which can be delete by clicking the Delete Selected link on the render web page. 4.7 Project and Database Backup/Restoration You can backup and restore your On-Set Dailies projects and the related databases as follows: 1. The same project folder structure has to be setup on both OSD systems. 2. Project database dump, or entire database dump. 26

27 3. Database export: Go to or address of database server>/phpmyadmin Select your project on the left Click "Check All" hyperlink (all the database table selected) Click "Export" tab Check "Save as file" in and click GO button in the bottom right corner. Save.sql file Export projects table as well in the same way 4. Create and import database: Enter the new database name in "Create new database" field Click Create Select you new project on the left Click "Import" tab Click "Browse" button and select the.sql file to be imported Click GO button in the bottom right corner 5. "osddata" folder under..\projects\<your project> 6. C:\xampp\htdocs\<your project> folder 7. Good to save C:\Program Files (x86)\dailies\project\<your project> folder as well 27

28 5 Node Page 5.1 Node Process Template The flexible node pipeline in On-Set Dailies allows you to fully customize your color/image processing pipeline. You can define the node template in the Setup Project Processing Template by pressing Shift+O. The desired input color space (A, Figure 5-1), such as Log, LogC, PanaLog, or camera node, such as RED, F65RAW, ARRIRAW, the necessary basic nodes ( C, Figure 5-1), such as LUT, RGB, Burn-in, as well as the output color correction color space ( B, Figure 5-2), such as Log, Lin or ARRI Look in case of using ARRIRAW/ProRes footage, and the result number from one to four (D, Figure 5-2) can be selected in Setup Project Processing Template window. Figure 5-1. Color space and node definition Figure 5-2. Color correction and result definition 28

29 5.2 Node Pipeline Nodes in the red box are the grading nodes, meaning they are saved for every shot independently. The default grading nodes are loaded from the grade template. Nodes outside of the box with yellowish title are global for the project, they are loaded from the viewing template. The purpose of the Processing Template Wizard is to help users easily set up their templates. In case of multi camera format project, you define your node pipeline separately to each camera type, such as RED, ARRI, SONY, GoPro, etc. The pipeline consists of three main template (see Figure 5-3) A. Grade Template, and the grade itself B. Camera Template C. Viewing Template Figure 5-3. Node pipeline of F65 camera in a multi camera format project The camera related nodes, called camera nodes ( D, Figure 5-3) are out side of the grade template (the Red Box ), but they are still part of the camera template. Note: camera nodes are distinguished and light green in the recent Beta builds. The grade nodes (E, Figure 5-3) are part of the grade template, and they are always placed within the Red Box. They are the white nodes. Global nodes (F, Figure 5-3) being in the Viewing template are yellow. Global nodes are applied to the entire project globally. 29

30 5.3 Grade Template To successfully use this very valuable feature one needs to understand the role of the Grade template and the Viewing template. Looking at the node page you can see the media source on the far left, and processed image format(s) on the right. The node pipeline in the middle consists of two types of nodes: - nodes in the red rectangle are saved per shot, we call this group of nodes the "grade" - nodes outside the red rectangle are global nodes, they are saved per-project The Grade Template is an XML file containing the "default" set of grading nodes, eg. the red rectangle. If a timeline is loaded into an OSD with "color grading rights", eg. an OSD run in Master or a Grade role, it saves a grade file for every individial shots. From that point on the pershot grades are loaded for the timeline. If you are changing the node configuration of the project please use the Shift+T hotkey to save the Grade template AND the View template at the same time. This will OVERWRITE all node settings on the current timeline as well. Make sure that all nodes are at default values when saving any template. Saving the grade template must be done at the very beginning of the project. In general, the grade template of the project should not be modified in the middle of the show. If you really need to, please consult the colorfront team. 5.4 Camera Template The camera template includes the camera related nodes, which are needed for representing the image processing as well as resulting the same image recorded by the different cameras, such as RED, SONYF65, ARRIRAW nodes specifying the camera parameters, as well as color conversion nodes and/or look-up table nodes in order to convert and/or display the image to the right color space within On-Set Dailies. 5.5 Viewing Template If the global nodes need to be adjusted (such as a burnin position) or new global nodes are needed (such as a new result or a new burnin) use the Shift+Y combination to save the Viewing template. This only saves the global nodes without distroying any of the per-shot node settings. If you simply adjust any of the global nodes, but do not save it explicitely with Shift+Y, your changes will be lost upon next reload. 5.6 Nodes 30

31 You can add new node, if you move your mouse to the Node Area of the Node Page (dark gray area in the middle of the screen) and press "A". Tool List window appears, and you can select the desired node from the list. To select nodes, press and hold down the Ctrl button and left mouse click the selectable nodes. Nodes can be deleted, if you press and hold down the Ctrl key, and line through the node by the mouse while you are holding down the right mouse button. Node Operations window appears by pressing H on the Node Area. You can perform the following operations on the selected nodes: Duplicate Selected Tools Delete Tools Delete Tools On All Shots Copy to Selected Shots Copy to All Shots 5.7 Output Result Adding New Result You can add Result, if you move your mouse to the Result Area of the Node Page (light gray area on the right) and press "A" Selecting Result Result can be selected by clicking the left mouse button. If you press and hold down the Ctrl button and select the result, then the result is selected for comparison. Results can be compared by pressing Shift + F1-F Deleting Result You can delete Result if you press and hold down the Ctrl key, and line through the result name by the mouse while you are holding down the right mouse button Enable Result to Video Output To enable the Result to the video output, select the desired result by clicking the right mouse button while holding down the Shift button. 31

32 6 Edit Decision List Handling On-Set Dailies is capable of importing EDL files via the project web page to the database, and after that, you can conform your timeline. EDLMatchRelativeTC option under Settings/Conform tab, is to be used only if the TapeName uniquely identifies the shot, and the source TC in the EDL is a timecode relative to the first frame of the given clip! This often happens in some file based workflows where there is no timeof-day timecode available (eg. DSLR or consumer cameras). 6.1 Import Edit Decision List via Project Web Page Open project home page: name>. Go to section Upload EDL source to database and click Browse. Select your EDL file and click Upload file button. Start OSD and select Cut as source on project load page. 6.2 Delete EDL from the database Previously imported EDLs can be deleted from the database by selecting Cut and Delete on the labroll load page. 32

33 7 Stereoscopic 3D OSD has a complete tool set for stereoscopic 3D dailies: metadata tracking of both eyes, stereo color correction, automatic and manual correction of geometric alignment issues, automatic color matching, and real-time depth analysis to name a few. 7.1 Setting Up a Stereo Project To create a sterescopic OSD project please include the word stereo in the name of the project. Examples: james_bond_stereo, jamesbondstereo, stereo_jamesbond. To adjust the settings specific to S3D projects open the STEREO tab in the settings page. There are two ways to set up a stereo project file structure: #A: Setup is the same as 2D projects, but left eye and right eye media are in the subfolders like below: /Tape001/Tape001L/ /Tape001/Tape001R/... Eg. every container (tape, card, whatever) has two subforlders with the same name, plus an added "L" or "R". This is a single, upper case character. #B: Define the leftbasepath and rightbasepath in the settings to point to a project structures containing the media for the respective eye. leftbasepath and rightbasepath should point to a folder structure that is just like the normal projectbasepath, eg contains the dates, under the dates the containers, etc. The date and the container folder should be IDENTICAL for both eyes. However, anything below may differ. Example: O:/media/projects/myNewProject_stereo/ /Tape001/... N:/media/projects/myNewProject_stereo/ /Tape001/... where leftbasepath is O:/media/projects/myNewProject_stereo rightbasepath is N:/media/projects/myNewProject_stereo If there are multiple media files or image sequences in the left and right eye media folders, OSD needs to figure out the left/right pairs to load the timeline. You can configure how this matching works: - timecode based: (default) for each left eye media OSD picks the right eye clip with the greatest timecode overlap - path based: Compares the paths and chooses the closest match. Use this if the timecodes do not match, but left/right clips have similar names. 33

34 - blind: alphabetical lists NOTE: if the left/right media to be processed has no matching timecode and has no matching filename the user needs to use the blind matching and manually create folders of matching names, and copy the files there. For example: /Tape001/Tape001L/AAA/zxczxczxc.mov /Tape001/Tape001L/BBB/asdasdasd.mov and /Tape001/Tape001R/AAA/hrthrthrth.mov /Tape001/Tape001R/BBB/vbnvbnvbn.mov This way the user can control manually what media are linked together. 7.2 Adjusting sync of the two eyes If there is no exact timecode match of the left/right media, OSD may not able to sync the two eyes correctly. To adjust the temporal offset use the Ctrl + [ and Ctrl + ] keys to slip the right media. Looking at the image in difference view (ctrl+f4) 7.3 Stereo node Pipeline When creating an initial node pipeline in OSD for a stereo project, some stereo-specific nodes are added to the tree. A single connecting line indicates a mono image, a double line indicates are stereo image pair in the node pipeline. All tools in OSD work in mono and stereo mode as well. Nodes, such as colorspace conversion or LUT do the same image processing for both input images, while the custom stereo adjust the two eyes differently. In OSD all shots of a stereo project have a metadata called DominantEye (you can burn it in or use it in the path like $DominantEye$). This metadata tells the system which is the hero, less distorted image to be used for the 2D version. Tools, such as the StereoGain (to fix color difference) or the Stereography (to fix alignment issues) fix the nondominant eye to match the dominant eye. This metadata can be adjusted on the HUD of the Stereography node. 34

35 7.4 Stereoscopic Tools Stereography Node This tool is to be used to adjust the geometry of both or the non-dominant eye: reposition, scale, rotate or fix keystoning. On the HUD of the tool there are two pages. The first page (S) contains the controls to manually adjust the images, while the second (A) contains autocorrection and analysis tools Manually adjust the image The first control, Convergence changes the horizontal image translation (HIT), the primary tool to adjust depth perception. The slider values are in pixel units. The next group of controls with the prefix global control the image pair globally: position, orientation and zoom. The transformation will be applied to both images. This is like a regular DVE control. 35

36 Floating Window The floating window effect is to be used to create the illusion of moving the left and right edge of the screen in depth by cropping the image edge. This could be used to fix edge violation issues Geometric Matching To match the non-dominant eye to the dominant eye to eliminate mis-alignment issues use the controls under the Geometric matching title. After switching to left/right eye difference mode (ctrl+f4) one can see the effect of these alignment controls. OSD has tools to fix alignment issues by automatically filling in these parameters. For details please read section AutoCorrection and Analyse Tools Auto-Correction and Analyse Tools 36

37 OSD is capable to analyze and auto-correct stereo image pairs by identifying and matching hundreds of feature point pairs on the left/right images. The horizontal difference of these point pairs indicate depth while the vertical offset is an indicator of misalignment or keystoning effects Analyse To analyze the image navigate to the second A tab of the Stereography tool HUD. The top button launches the analysis, without any modifications to the images. The points displayed are color-coded indicating if the point is critically close/far or in the legal depth range. To adjust the limits of the depth budget please adjust the near plane and far plane sliders, these indicate parallax values in pixels. 37

38 To see the epipolar lines of the corresponding camera make sure the show epipolar is turned on, and switch to left (ctrl+f2) or right eye (ctrl+f3) view. To enable/disable the point cloud - the result of the analysis - toggle the show points button. To visualize the depth budget one can use either the depth waveform or the depth histogram. On both indicators the screen plane is marked with a grey line, near and far planes are marked with a colored line. These windows update real time - there is no need to re-analyse - as the user adjusts the geometric matching parameters or runs the auto-fix process Auto-correct To fix misalignment problems first set the desired Fix Mode and then press Auto-Fix Image. There are several fix modes, see explanation below: Vertical Offset: If the non-dominant camera is tilted up/down relative to the hero camera, the images become vertically misaligned. Such problem can be fixed in this mode by vertically offsetting the nondominant image. (this mode is used less frequently, as the next two modes are often preferred) Offset+Rotation: If there is a chance that both tilt and rotational misalignment may be present, use this mode. The non-dominant eye will be rotated and offset vertically to match the dominant eye. This is done by reconstructing the epipolar geometry of the two images. Offset+Rotation+Zoom: Same as the previous mode with the additional capability of fixing different zoom factors. Vertical CornerPin: Shooting with toe-in (converging) camera rigs causes minor keystoning effects. Some stereographers choose to not to fix this distortion while others do eliminate this. The Vertical CornerPin mode applies a 4 corner pin transformation such that the corners are only offset vertically, thus the resulting fix only eliminates vertical misalignment of pixels, while keeping the - potentially distorted - depth of the original image pair. The stereographer may choose to finetune this corner pin transformation by navigating to the first tab S and enabling corner pin. Moving the four corners horizontally the vertical correction is not affected, only depth is adjusted. The depth waveform is a great tool to identify and control depth distortion issues. 38

39 (image source: CornerPin: In this mode OSD applies a 4 corner pin transformation to match the non-dominant image to the dominant image. WARNING: use this mode only if the camera is looking straight at a flat surface perpendicularly, such as a calibration chart. On arbitrary footage this mode - by design may generate faulty results StereoGain Node The StereoGain tool is able to auto-balance the color difference between the two eyes. Simply open the controls of the SGain tool and press the Match button. This will analyse the two images and produce a lift/gain type of color correction to match the non-dominant eye to the dominant eye. The user can manually adjust the result of the analysis. NOTE: the use can freely change the dominant eye parameter after the analysis is done, the tool will automatically update it s output, without the need of re-analysis StereoFuse Node Use the StereoFuse tool to produce an over-under, side-by-side or interlaced version of the stereo image pair. The input of the tool is a stereo pipe (double line) while it s output is a mono image. Typically this node is used to generate a stereo deliverable format StereoDominant Node To generate a 2D version one needs the dominant eye image from the stereo image pair. This node always outputs the dominant side, even if it is changing shot by shot. It s input is the stereo image pair, it s output is a monoscopic image to be used for the 2D deliverables. 39

40 7.4.5 StereoSplitRGB Node To access the left and right eye image use the StereoSplit node. It has two outputs for the two eyes. To output both eyes as standard 2D formats connect this node to the end of your pipeline, add two results, and connect the respective outputs to them StereoMergeRGB Node This tools creates a stereo image pipeline from the left and right eye images. OSD inserts a StereoMerge node automatically to the beginning of the stereo pipeline upon project creation StereoDeFuse Node From a standard monoscopic image input one can create a stereo image pipeline if the image is an over/under or side-by-side media. The StereoDeFuse node turns these images into a stereo image pair, which the user can process with the stereo tools. NOTE: To use this node in a non-stereo project open the settings page, click on the GUI tab and turn on ShowStereoTools. After that you will be able to add any stereo node in the node page by pressing A. 40

41 8 Working with VTRolls 1) If you are working on a project where the input media is reorganized into VTRolls (such as a labroll based film project) open the setting editor (TAB), open the vtroll parameter set and enable manual VTRoll definition. This allows the user to define and load VTRoll timelines as well. 2) The VTRoll/Screener assign page can be opened with <V> 3) Select a date in the upper-left table 4) Select the VTRoll on the lower left table you want to edit, or create a new one by pressing the + button on the page. 5) The left main table contains the shots in the selected VTRoll, the right main table contains all the unassigned shots of the day. Press autofill to assign shots to the current VTRoll to fill it up with 1 hour total length of material. 6) To change the order of the shots press the column headers of the right table. To reset the multi-level sort, hold <ctrl> and click on the header to reset. 7) To manually assign shots select them in the right main table (hold ctrl to toggle, shift to multiselect), and use the left arrow to assign. 8) To manually remove shots select them in the left main table and use the right arrow to remove. 8.1 Head Slate for VTRolls 1. If the head slate is enabled in the slate tab of the setting page, a custom head slate sequence is loaded for VTRoll timelines. 2. A head slate may consists of the following blocks: Black, Color Bars, Black, Frame Leader, Black, Slate Text, Black The length of each of these elements (in seconds) can be adjusted in the slate section of the settings page (simply set the length to 0 seconds to leave any of the elements off) 3. If the color bar graphics, the frame leader image or the slate text background needs to be changed/customized, users can set the SlateImageFolder parameter to point to a custom folder. This folder needs to contain the following customizable media files: black.dpx 41

42 frame_leader.dpx slate_background.dpx SMPTE_75_COLORBAR.dpx tone.wav 4. The slate text contains a basic factory setting that can be further customized. Simply navigate to the slate text shot, open the node page, select the burnin tool and adjust the parameters as needed. Additional burnin nodes can also be added (make sure they are part of the grade, eg they are in the red box). Please refer to the appendix on how to burin is the list of takes, list of scenes, total running time or general production info coming from the settings. 5. Each encoder can be configured to include the head slate or not. Simply go to the encode page (P), and toggle the slate checkbox for the deliverable. 8.2 Assembling custom timelines 1. In the VTroll assign page users can define 4 custom timelines for any given date. Press <V>, and click on the Screeners button (middle left). 2. Select the transfer date on the upper left table. 3. Similarly to VTRoll definition, on the left you see all the shots on the selected Screener (make sure you have highlighted any of Screener1, Screener2, Screener3 or Screener4!) and on the right you see all shots of the day. 4. To change the order of the shots press the column headers of the right table. To reset the multi-level sort, hold <ctrl> and click on the header to reset. 5. To manually assign shots select them in the right main table (hold ctrl to toggle, shift to multiselect), and use the left arrow to assign. 6. The next time the user loads the corresponding screener, the assigned shots will show up. 42

43 9 Quality Check 1. Press <shift>+<q> to turn on the QC window. This window allows the user to enter QC comments that are stored in the database. 2. QC comments can be defined in "QCComments" field under Settings/QC tab separating them by comma. QC comments will appear as buttons in QC window. You can add them to Comments field by clicking the buttons. 3. Create new comments for the current shot with the plus button, remove them with minus. Little arrows allow you to navigate between the existing QC comments (always of the given shot). 4. After adding a new entry the position of the QC comment you can define the position of the problem by Ctrl+clicking on the image. This sets the POS parameter automatically. The exact location of the problem is also stored in the database (eventough it is not displayed in the QC window) Position abbreviations are: UL - up-left UC - up-centerur - up-right CL - center-left C - center CR - center-right LL - low-left LC low-center LR - low-right 5. The timing of the problem may be shot (complete shot), frame (one single frame), or range. To set the timecode values for single-frame or range, Ctrl+click on the corresponding timecode field to set the current timecode. 6. To rate the severity of the problem click the first, the second or the third stars. 7. Type the short description of the problem into the comment field. All QC comments are submitted to the database upon exiting the application or manually saving. 8. To generate a PDF report go the project website (localhost/yourproject) and use the Generate PDF report module. 43

44 10 Color Grading Color grading is usually done using the RGB color corrector. This has both a log and linear versions for color grading in these color spaces. There is also a sector corrector, that allows color controls for the individual sectors of: red, yellow, green, cyan, blue, and magenta. These color tools are placed manually in the color pipeline on the node page, or automatically, when using the Processing Template Wizard. Easiest color grading can be done using the Tangent Wave or Tangent Element control panel. On the upper left menu, the tool can be selected, such as the RGB corrector and the Sector corrector, if exists in the pipeline. Trackballs, knobs and wheels can be used to do the color grading on the current clip. The mouse can be also used for grading, in connection with the HUD heads up display for the tool, that can be reached by pressing the H key, or swipe left of the screen with the mouse, if swipe is enabled. Use the keyboard keys 1..9 to select the specific parameter to change, and drag with the mouse across the screen. Press 0 (or the corresponding number again) to return to navigation mode. There are several UI elements helping navigation and grading. Press <1> on the numpad to open up the thumbnail timeline. Each shot is represented by a small thumbnail image, regardless of the shot length. You can scroll the timeline with right mouse-drag, or shuttle by holding <shift> and right-dragging to left or right to move the timeline forward or backward. Press <2> to open the Look Store timeline, <3> to see the big timeline. Pressing <6> opens up the color wheel representing the primary parameters of the current primary tool. Color grading can be saved in the Look Stores, that stores both the color parameters and the still image of what the currently graded frame is. Using the Wave panel, the up arrow key allows saving to the Look Store, while the down arrow allows recalling a saved grade and applying on the current clip. Selecting is done either by clicking with the mouse on the Look Store clip thumbnail, or by pressing the Alt key on the Wave panel upper left corner, and rotating the left wheel just below it, to select the saved look. The mouse can be also used to drag a color grade from the timeline to the Look Stores, or back. Color grades can be dragged from one clip to another, by using the mouse. Also multiple clips can be selected, by holding the Ctrl key and clicking on individual thumbnails or swiping over them. This way, the selected clips will be highlighted, and when a color grade is dragged to one of the clips, it will be applied to all selected clips. 44

45 There are also 3 quick memory slots. Save grades by pressing <0> and <7>, <0> and <8> or <0> and <9> on the numpad at the same time. Recall grades by simply pressing <7>, <8> or <9> 10.1 Look-Up Tables Importing Look-Up Table At present, only the 3dmesh file type is supported, and the size can be anything between 2x2x2 and 129x129x129. So for example 64x64x64 and 65x65x65 are supported. There is a limitation, that all the lut data should fit into gpu memory beside all the other processing data, so multiple gigabytes of different LUTs will not work, but 100 MB will. Currently, the following Look-Up Table formats are supported by On-Set Dailies: Luther ASCII 17x17x17 (.txt) Autodesk Lustre LUT format (.3dl) OSD own 3dmesh LUT format (.3dmesh) LUT files must be placed in C:\Program Files (x86)\dailies\lut directory under Windows 7 and in /Applications/osd/lut folder under Mac OS X. In the application, LUT node must be added to your project pipeline, press H for displaying HUD, then select the desired LUT. By adding LUT node to the grade template (red box in the node page), LUT can be applied on the shot basis. OSD can load and apply automatically your daily look-up tables to your shots, based upon the metadata information in the name of the LUT files. 1. Create lut folder under the date directory and place the look-up table files into it. Look-up table file names have to include metadata information, eg. CamRoll, Scene, Take A001_119_1.3dmesh. 2. Add a LUT node to grade template. 3. Set parameter metadatamatchinglutname, metadatamatchinglutnode under Settings/Metadata tab in accordance with the metadata being in the name of the LUT filename. OSD matches the lut files listed the metadata between $$ signs and separated them by comma in metadatamatchinglutname, and will load the lookup table to the node you set in metadatamatchinglutnode. Eg. metadatamatchinglutname - $CamRoll$,$Scene$,$Take$ metadatamatchinglutnode - LUT1 (name of the first LUT node) Once you set the parameters, and LUT files are in the correct folder, press Shift + G to open Import Grade Information window and select Auto-apply LUTs from the list. OSD 45

46 applies the look-up tables automatically to your shots, and load them to the LUT node you defined Exporting Look-Up Table Look-Up Tables are easily exportable in On-Set Dailies by pressing Ctrl + L. Exported LUTs named as mylut.lut, mylut.a3d as well as mylut.3dmesh can be found in C:\Program Files (x86)\dailies\lut folder under Windows 7 and in /Applications/osd/lut folder under Mac OS X. Note: Result which does not include Crop, Burnin or other nodes, but only color correction applied must be active at LUT export ASC Color Decision List The American Society of Cinematographers Color Decision List (ASC CDL) is a format for the exchange of basic primary color grading information between equipment and software from different manufacturers. OSD can import Color Decision Lists coming from other grading systems. The Slope, Offset and Power parameters, as well as Saturation are all supported within OSD CDL-EDL load If your EDL file contains CDL parameters as well, it can be automatically loaded by placing.edl file in "edl" directory under the date folder, or manually, by selecting "Upload EDL source to database" via OSD project home page. Afterwards in OSD, press Shift + G, select "CDL EDL" and CDL parameters will be applied to your timeline. To make sure the link between the EDL events and the shots on the timeline is correct make sure the Metadata/edl_Link parameter is set up correctly in the settings page. This parameter controls how the tape name and the timecode of the EDL event relates to the clips on the timeline. By default the tape name should match the loaded timeline/magazine name (LabRoll in the database) and the EDL source timecode should match the media source timecode. If this is not the case you need to adjust this setting. Example: if your EDL events tape name matched the ClipName of the media use the following string: edls.tapename=shots.clipname and edls.srctcin=shots.tcin 46

47 CMX EDL with inline CDL parameters sample: Example: TITLE: 0214 VFX TEST 01 EDL FCM: NON-DROP FRAME 001 LR229 V C 09:00:00:00 *ASC_SOP ( ) ( *ASC_SAT LR230 V C 10:00:00:00 *ASC_SOP ( ) ( *ASC_SAT :16:53:05 01:00:00:00 01:16:53: ) ( ) 10:21:30:06 01:16:53:05 01:38:23: ) ( ) CDL/CCC import The CDL files should be placed in a "cdl" directory under the given date folder, along with either a single reference DPX/TIF image, or an image for every cdl file. This DPX/TIF can be original ungraded source frame, a DPX frame with the CDL color grading applied, or a DPX frame with both the CDL grade and a viewing LUT applied. This can be set under Settings / Grade / [ORIGINAL] [GRADE] [GRADE+LUT] There are two workflows to import your cdl/ccc color correction: #A: Through the Red Lookstore 1. Make "cdl" folder under the date folder 2. Copy the.cdl or.ccc files and a reference dpx to the cdl folder Notes: at least one reference dpx file must be placed in the cdl directory at the moment. If you have dpx frames for individual cdl/ccc files, the names of the files need to be matched. 3. Press NumPad+2 button for opening lookstore and select Red lookstore. 4. Looks can be drag&dropped to your timeline #B: Along with the Codex XML including CDL metadata: 1. Codex.xml must be placed in the media folder 2. OSD automatically parses CDL data from the Codex.xml 3. Press Shift + G in the application, select "Codex CDL", CDL parameters will be applied to your timeline. ASC-CCC XML (Color Correction Collection) The ASC-CCC format contains multiple CDL XML chunks, that can be applied to multiple shots. Example: <ColorDecisionCollection xmlns='urn:asc:cdl:v1.01'> <ColorDecision> <ColorCorrection id= test_cc.101 > <SOPNode> <Slope> </Slope> <Offset> </Offset> <Power> </Power> 47

48 </SOPNode> <SatNode> <Saturation>1</Saturation> </SatNode> </ColorCorrection> <ColorCorrection id= test_cc.102 > <SOPNode> <Slope> </Slope> <Offset> </Offset> <Power> </Power> </SOPNode> <SatNode> <Saturation>1</Saturation> </SatNode> </ColorCorrection> </ColorDecision> </ColorDecisionList> Exporting CDLs OSD can export CDLs in the ALE file generated with the MXF for AVID editorial. To have the CDL values in the ALE, enable AleCDL parameter on the Settings/Encode tab. ALE file can be automatically generated by rendering Avid DNxHD deliverables, or manually by selecting "Generate ALE file" on the OSD project home page. The ASC-CDL parameters are passed to AVID MediaComposer and are available there as metadata, and can be later exported from MediaComposer in a CMX-EDL for finishing, allowing for a full CDL pipline from On-Set through Dailies and Editorial to final grading. The other way to export CDL is to select CDL (Metadata) deliverable under Metadata from the deliverable list on the Deliverables page. To generate the CDL files, press Ctrl+R. Once the file generation process is finished, the CDL files can be found under the..\generated\cdl directory of the project render path Looks and Look Stores Look Presets OSD supports a look-based workflow where "named" looks can be saved and recalled by the function keys F1-F9. To open the Look Preset window, press Shift + I. 48

49 Figure Look Preset window Select the desired look by clicking Look1 - Look10 buttons ( A, Figure 10-6) on the left. Once the look selected, click in the Look Name Field ( B, Figure 10-6), enter the name of the look and press Enter. Once you finished entering the look name, click Save button for saving the look. The name of the looks will be saved in the database. If you press E, you can also see the look name in the upper left corner of the screen. For renaming the already existent look, click again in the look name field and enter the new name of the look, then hit Enter. If you want to load your previously saved look, select the look in the Look Presets window and click Load, or press the appropriate F1-F9 function key, as Look1 - F1, Look2 - F2 and so on. If you want to have more predefined looks, you can save them by pressing Ctrl + 1-9, and recall them by Shift Look Stores You can use look (still) stores to save your looks. By pressing Numpad2 to enable the Green/Blue/Red/Orange Look Store timelines above of your screen. To select one of them, press the small Green/Blue/Red/Orange square on the upper left corner of your screen. You can save a look to the look stores by drag&drop your grade from your main timeline to the selected look store timeline, and vica versa, you can apply your look (still) by drag&drop your still from the selected look store to your clip/timeline. Stills can be displayed on your Storyboard Timeline by pressing Numpad4. 49

50 You can compare your selected still being in the look store to your actual clip by pressing Numpad5. Stills can be deleted from the look stores by pressing Ctrl+backspace Green Look Store This is a look store global to the project, eg. whatever the user loads (VTRolls, screeners, magazines, EDL cuts) all the looks (stills) will be available Blue Look Store Blue Look Store is for daily looks and for ipad stills Red Look Store The Red Look Store is used for imported CDL, CCC files. For details, see chapter CDL/CCC import Orange Look Store Not available ARRI Look XML workflow From ARRI ALEXA SUP 4.0, Look XML File support is available on ARRI ALEXA, which means that look XML files can be uploaded to the camera. These looks can be applied in the camera either to the monitoring output or the recorded media. If looks are not baked into the recorded files but only used for monitoring, OSD can apply the very same color transforms to the recorded media based on metadata travelling in the files. On-Set Dailies fully supports this workflow having the ability to do a round-trip of ARRI ALEXA Look xml files. Looks can be imported from the recorded media or XML files, they can be adjusted inside OSD and exported in XML files which can be uploaded to the camera. The Arri Look color processing of the camera is reproduced with the combination of 3 color processing nodes inside OSD: a Printer Light node, an Arri Look node and a CDL node. This color pipeline is automatically created by OSD ARRI Look Pipeline OSD creates the ARRI Look Pipeline based upon your source material that can be either ARRIRAW, or ARRI ProRes. ARRIRAW Source In case of using ARRI RAW source footage, Color Space ( A, Figure 10-1) has to be set to ArriRAW, so Color Correction will be automatically set to ARRI Look ( B, Figure 10-2) in the Project Processing Template Window. Click Create to start pipeline creation, or click Cancel to abort the operation. 50

51 Figure Create ARRIRAW Look Process Template Once you created your ARRI RAW Look pipeline, following Grade Template will be made on the Node Page. Figure ARRIRAW Look Pipeline ProRes Source If you work with ARRI ProRes source material, Color Space ( A, Figure 10-3) has to be set to LogC, so Color Correction will be automatically set to ARRI Look ( B, Figure 10-3) in the Project Processing Template Window. Click Create to start pipeline creation, or click Cancel to abort the operation. Figure Create ARRI ProRes Look Process Template You have the following Grade Template created in case of ARRI ProRes Look pipeline. 51

52 Figure ARRI ProRes Look Pipeline Printer Light Node You can adjust the Printer Light parameters here. This color correction is in Log color space, similar to film style printer light grading ARRI Look Node Figure HUD of ARRI Look Node LutFromMedia Enable/disable the application of the tone map curve coming from the ALEXA camera in the file metadata. If this option is disabled a tonemap curve based on the Knee and Roll parameters is used. If this is enabled the tonemap curve in the metadata is used, and the Knee and Roll parameters are ignored. Note: applicable only on ARRI ProRes source material. Knee You can adjust the Knee parameter of the tone map curve. Roll You can adjust the Roll parameter of the tone map curve. Matrix and P3 Do not change these settings to remain compatible with the Arri Alexa color processing. Saturation You can adjust the Saturation parameter of the image Color Decision List node You can adjust the standard CDL parameters, Slope, Offset and Power here. At this point the color values are in video color space. 52

53 IMPORTANT NOTE: Please do not use the Saturation parameter in CDL node as it is not an ARRI ALEXA compatible parameter. Use the saturation control in the ArriLook node instead ARRI Look XML import There are two ways to import ARRI Look file to On-Set Dailies. 1. Automatic metadata parse from the header of ProRes files upon source footage load. This means that each shots will default itself to the look specified in the metadata upon loading it for the first time. The user has the option to adjust it if needed. 2. Parsing automatically ARRI Look xml files placed under <projects>\<date>\looks directory and display them in Red Lookstore. The operator can apply these looks by simply drag-n-dropping them to the timeline ARRI Look XML export In order to provide a full and fluent look workflow, On-Set Dailies is capable of exporting looks via the Alexa XML metadata encoder. Open the encode page (P), add a new encoder by clicking in an empty slot and choose Metadata/Alexa XML. The user can configure the filename and the path, just like any other deliverable. IMPORTANT NOTE: While OSD can fit into any color processing pipeline we strongly recommend to avoid baking the looks into the recorded ProRes media. Keeping the original pixel values in the recorded files guarantees that there is no loss of color information, thus the opreator has the flexibility to apply either the look specified in the metadata or any other (or absolutely no) color correction in OSD Reference Still Input Reference Still The 10 bit uncompressed DPX as well as TIFF reference image files should be placed in the cdl directory under the given date folder. This DPX/TIFF can be original ungraded source frame, a DPX frame with color grading applied, or a DPX frame with both grade and a viewing LUT applied. This can be set under Settings / Grade / [ORIGINAL] [GRADE] [GRADE+LUT] accordingly Export Reference Still 53

54 If you save your look to the Blue Lookstore, then it is automatically exported as a JPEG image with both grade and viewing LUT applied as well as a DPX image with color grading applied only under..\projects\<your project>\thumbcache directory ipad On-Set Color Workflow On-Set Color (OSC) is mainly used for reviewing the dailies grading on-set and sending back new grade versions. Basically the Dailies facility is located near-set or on-set. And the reviwer can be anywhere around the world. Usually he is the DOP on set. The OSC workflow is usually looks like this: Dailies facility receives the footage from the on-set Then do the dailies and the colorist makes the initial grading. Colorist saves some representative images from the actual work for the day to the blue lookstore in OSD. By pressing the B button, these graded images are exported to a folder. From this folder, the images goes on to an ftp server (either using watch folder techniques or this folder is directly on the ftp server). At that point, the reviewer(s) receives notification, that new images arrived. The reviewer starts OSC on his/her ipad which is preconfigured for this project (to access the secure ftp server), and download new images. Then checking the new images, create notes and new primary grading. If he finished, then click on send back button, to send back the new informations to the ftp server. In the dailies facility, the colorist receives an notificaton, that new grade arrived, then transfer back the grade xml from the ftp server to the ipad folder of the OSD. In OSD, hit the V shortcut to load back grading as new versions into the blue lookstore. The colorist is checking the new grade using the blue lookstore, and creates new grades if necessary. May he send back new images for reviewing on-set. Some known limitations: Right now the received comments cannot be seen in OSD, only in the grade xml. The received grades can only be Primary nodes, and inserted after the last grading node. New things: Support for custom 3D LUT: If you put 3D LUT in OSD float format to the ftp server, then you can download it and select it as a viewing LUT in OSC. 54

55 11 Audio Synchronization and Mixdown In the following section, you can find, that how audio synchronization works for OSD. If you define the project frame rate eg. with 24 fps, and with audio sample rate, Hz, from these values, OSD thinks that there is 48048/24=2002 samples of audio per frame. When you perform audio renders, it will render them at the same sample rate as the input, so in this case For the video deliverables there is also a frame rate given, usually , which means that at the output there is 48048/23.976=2004 audio samples per video frame. In this case it means that you have to create 2004 output samples from 2002 input sample, so you should use pulldown. Other example, you have fps project, Hz audio sample rate, so 2004 audio sample per video frame on the input side, output is the same, so 2004 audio sample per video frame on the output side, so you should use normal mode for audio rendering (from 2004 to 2004 samples). When you load up a timeline there is an audio and a video timeline created. When you are rendering something per clip, OSD starts to get the frames and audio samples at the beginning of the clip. When you go to the next clip it will start again at the beginning of that clip. However timeline renders starts at the beginning of the timeline, and goes through the timeline. I show you through an example why this is important. Let's say you have video recording at 24 fps, audio at 48048, however you give as project framerate. When OSD loads a timeline with this setup it will calcutate 2004 audio sample per frame, so a 1000 frame clip will have samples. However originally there were only samples. Now if you render fps video and you use pulldown for audio the result will have audio in sync. With per clip render you will not have any problem. However the timeline renders will include these extra 2000 samples, so the audio will be bad for timeline renders. If you would choose 24 fps for the project framerate (as it was originally) at loadup time the audio timeline would be created with 2002 audio samples per frame. OSD wav renders have a length of (input audio sample rate)/(output video framerate)*(number of frames). You can force the input sample rate to some other value, but when you use the original sample rate, then this is the case. As I see this means that the length should be correct. However avid can do a lot of things when importing audio. So if you have a video recorded at 24 fps, audio at 48048, you set project framerate to and render audio for avid with normal mode, but import it to avid with pulldown, then you will have longer audio, but it will be in sync. And as described it above timeline renders will be wrong Setting metadata and sound sync 1) If an entry is indicated (new) in the load page, it is recognized by the system, but is not yet in the database. (eg. it has not been processed at all) 55

56 2) By hitting <Enter> on the new media, the system will assemble a new timeline with the footage. Also if there is a Codex XML at the directory level of the media or one level above the system will parse that as well. 3) Set up metadata and sound sync (details below for different types of workflows) 4) Exiting the application with <Esc> saves all metadata. If you want to exit without save, use <Shift> + <Esc>. To save the data without exiting press the <M> button Automatic Audio Synchronization 1. Make sure all production audio is copied to the /projects/myproject/ /audio You can review the audio files in the sound page (press <S>) audio folder, such as 2. Press the <=> key to automatically sync the sound based on timecode. The red line indicating missing audio on the top of the screen should disappear 3. If the production audio has proper metadata in the broadcast wave header, the metadata will be applied to the shots as well. You can check this by pressing <E> (simple metadata viewer/editor), where the main metadata and the audio timecode is displayed Timecode Based Audio Synchronization 1. Make sure all production audio is copied to the /projects/myproject/ /audio You can review the audio files in the sound page (press <S>) audio folder, such as 2. If automatic sync is not an option but the production uses a smart slate, it is very easy to sync production audio. Navigate to the frame where the timecode is still running and is visible. Press <shift> and <;> at the same time. This launches the automatic timecode recognizer, analyzing the image to find the timecode displayed on the smart slate. 3. If OSD cannot detect the timecode simply press <;> without shift and enter it manually (use the timecode displayed on the smart slate as a reference). By pressing <enter> the system finds the audio with the matching timecode and syncs it to the shot. 4. If the production audio has proper metadata in the broadcast wave header, the metadata will be applied to the shots as well. You can check this by pressing <E> (simple metadata viewer/editor), where the main metadata and the audio timecode is displayed. 56

57 11.4 Manual Audio Synchronization First, make sure OSD is configured properly for your project: to define the set of the metadata tags identifying sounds and shots open the setting editor by pressing <TAB> Go to the Base section List the metadata names that identify the shots in ProjectDataNames. (Most often Scene,Take, Scene,Slate,Take or CamRoll,Scene,Take is used) Specify subset of these metadata tags that identify sounds by listing their indices in ProjectMatchIndices. (Eg. if all shots AND audio have Scene, Slate and Take metadata use 0,1,2. If you have a film project with CamRoll,Scene,Take metadata tags you will need 1,2 as sound matching should ignore the CamRoll data. If only Scene and Take is used, 0,1 is needed) 1. Make sure all production audio is copied to the /projects/myproject/ /audio audio folder, such as 2. Open the sound page (press <S>) and make sure all audio files have proper metadata (Second slate column in the table). This comes from the broadcast wave header upon loading the sound but can be overridden. 3. If the metadata needs to be edited click into the metadata cell and correct it. Use the arrows to navigate, use the <.> button on the numpad for separating the metadata fields. 4. The system automatically detects clap sounds, you can see them as green flags on the waveform. You can jump to any position in the waveform and listen to the audio by pressing <Space>. If the clap sound is not properly identified move the playhead to the clap position and press <Q>, <W> or <E> to define the A, B and C sync points respectively. You can refer to these sync points when doing the sound sync. 5. After making sure all sounds are properly labeled and claps are marked, exit the sound page, and label all shots on the timeline as well: 6. Press E to turn on the simple metadata viewer/editor. Press <.> on the numpad to start entering metadata, press <.> again to jump to the next metadata field. IMPORTANT: to be able to sync shots and audio, all matched metadata fields must match exactly!!! 7. To set the metadata for a number of shots quickly use the shortcuts: <+> on the numpad to use the previous shot's metadata while incrementing the Take <-> on the numpad to use the previous shot's metadata while incrementing Slate and resetting Take 8. After the all metadata is set move the player to the first frame where slate is closed. Navigate frame-by-frame with the up and down arrows. 57

58 9. While parking on the correct frame press <Q> to sync the sound with the matching metadata. To sync to markers A, B and C press <Q> repeatably Audio Mixdowns On-Set Dailies is capable of mapping the audio channels independently per encode delivery. Thus, you can easily create multi-channel, stereo, or as desired audio contained deliverables. On upper right corner of the Sound page (press S ), you can find the Mixdown Panel which consists of three parts (see Figure 11-1). D. Mixdown List E. Mixdown Matrix F. Add/remove (+/-) buttons Figure Parts of the Mixdown Panel on the Sound page Create new mixdown By pressing Add button (+), you are able to add new mixdown to the Mixdown List. In this case, OSD automatically define the name of the mixdown as Mixdown1, Mixdown2, Mixdown3, and so on. 58

59 By double-clicking in a field of the Mixdown List, the name of the mixdown can modified as well as by right mouse clicking and holding down the mouse button, it is scrollable up and down Define channel mapping The Mixdown Matrix consists of twelve columns representing twelve input audio channels ( A, Figure 11-2), as well as twelve rows indicating the twelve output audio channels ( B and C, Figure 11-2). Audio output channel or channels being light grey ( B, Figure 11-2) are the active output channels, the channels being dark grey (C, Figure 11-2) are the inactive ones. To define the output audio channel numbers, and to make the channels active or inactive, click the output audio channel name, Channel 2, Channel 3, and so on. Figure Input and output audio channels in Mixdown Matrix The mapping of the input channels to the output channels happens by checking the desired checkboxes in the appropriate input audio channel column, as well as in the output audio channel row in Mixdown Matrix. Examples: 59

60 Figure Generating a four channel audio with 1->1, 2->2, 3->3, 4->4 Figure Generating a three channel audio with 8->1, 1->2, 3->3 60

61 Figure Generating a three channel audio with 1->1, 3->2, and the mix of 1 and 2 into 3 Figure Generating a single channel audio with a mix of the six input channels Playback You can modify the mixdown of playback similarly to the encode mixdowns. MOS If you want to have deliverables without audio encoded, then you need to create a mixdown unchecking all the checkboxes in the Mixdown Matrix, as it can be seen in the picture below. 61

62 Figure Mixdown matrix for MOS Remove mixdown Previously defined mixdown can be removed from the Mixdown List by selecting the removable mixdown, and pressing Remove (-) button on the Mixdown Panel Use mixdown of another project If you want use the mixdowns defined in another project, then you need to go to the Settings page (press Tab button), select the Audio tab ( A, Figure 11-10), and enter the name of the project of which the mixdown settings you want to use to the MixdownFromProject field ( B, Figure 11-10). Default value is self, which means that the mixdown settings of the actual project are used. 62

63 Figure MixdownFromProject on Audio tab Rendering with mixdown Once you created your own mixdown list on the Sound page, mixdown needs to be set for the encoding in the Mix column (A, Figure 11-11) on the Deliverables page. 63

64 Figure Mixdowns on Deliverables page By clicking left mouse button in the Mix column, the Mixdown dropdown list ( A, Figure 11-12) will appear and you can select your previously defined mixdows for your renders. If you do not select any mixdown, then xml is displyed in the Mix column ( B, Figure 11-12), which indicates that encodetemplates.xml is used for the encoding. 64

65 Figure Mixdown List on Deliverables page 65

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