Deluxe Entertainment Services Group
Kevin Dillon, Executive Vice President, Deluxe Creative Services Group
just announced that it has purchased multiple units of the Dolby
Professional Reference Monitor (PRM-4200). "Deluxe conducted extensive testing of a variety of monitors to ensure we would have the contrast range we needed and we would be able to accurately calibrate color," says Kevin Dillon, Executive Vice President, Deluxe Creative Services Group. "The ability of Dolby's PRM monitors to add 3D LUTS and work within a digital cinema color space meant it would seamlessly integrate into our workflow."
"We plan to install several monitors in our Company 3
Santa Monica and EFILM
Hollywood locations, with a plan to rollout different monitors in the future," he adds. Both Company 3 and EFILM are leading digital intermediate facilities in Los Angeles that serve the Hollywood feature film/TV markets. The Deluxe Creative Services Group also includes Beast
, Deluxe New York
, Method Studios
, RIOT Atlanta
post production facilities.
Stefan Sonnenfeld, President of Deluxe Creative Services Group noted that, "Deluxe is committed to providing the highest quality post-production services for the content creation community." "The Dolby Professional Reference Monitor allows us to help content creators realize their artistic vision with the confidence of the highest level of color accuracy today," he says.
At the HPA Awards
tonight, the Dolby Professional Reference Monitor is also being honored with a 2011 HPA Awards for Engineering Excellence; the award notes that the monitor, "filling the gap left by the CRT, is the first display capable of displaying the full dynamic range, contrast ratio, color gamut of leading edge digital cameras and film stocks, and fully supports today's digital work flows. The monitor delivers true blacks with exceptional dark detail, high contrast, wide dynamic range and precise color rendering."
Company 3 Santa Monica
The Dolby PRM-4200, which offers 12-bit dual-modulation display technology, supports both 10-bit video formats and emerging 12-bit formats without dithering or down-scaling of the color gamut. The monitor emulates any other display device, replacing the collection of monitors in use used for color correction, mastering, and quality control, and accurately displays DCI P3, all high-definition formats over HD-SDI, and 2K video content.
As noted by Deluxe Creative Services Group's Dillon, the Dolby PRM-4200 also supports 3D LUTS, allowing it to be calibrated to perfectly match digital screening environments and to emulate the response of film-print stocks during the digital intermediate color correction process. On the set, it displays color looks and previsualization with 1D and 3D LUTs. The Dolby PRM-4200 monitor is also installed at post facility Glassworks Amsterdam
; Moving Picture Company
in London; nhb
in Berlin and Dusseldorf; Salamandra Film Lab
in Moscow; New Wave Entertainment
in Burbank, Incendio
in Venice, California; BBC
in London; Post Production Office
in Hong Kong; Cinema Sound Works
in Tokyo; Gemini Industries
in Chennai. The monitor was also used by digital intermediate facility iO Film
to do a 4K restoration of Apocalypse Now
; and distributed by Media Village Singapore, which offers the product for South East Asia.
Dolby Director of Production and Post Production Solutions Bill Admans
Dolby Director of Production and Post Production Solutions Bill Admans notes "the success Dolby had at the HPA Reference Monitor Symposium
where we were able to show that it's a reference monitor in the digital cinema color grading workflow, which is important to companies like Deluxe." "When people look at a reference monitor, they're looking for versatility," he says. "The PRM is not just for HD workflows but for visual effects, assembly for digital cinema, color correction and other workflows. It's very easy to integrate into a workflow because it maintains calibration across formats, literally by pushing a button."
Admans also points out that the accuracy of the monitor to display P3 and emulate the look of a cinema projection screen is important to crucial color grading environments. "The experience and look is the same on the small screen as it would be on the large screen," he says. "That's hugely important for those folks in cinema grading environments, and the PRM offers them a great way to do this without investing in huge screening rooms. The Dolby monitor is designed to efficiently allow them to get the most out of their investments in their infrastructure."
The Dolby PRM-4200 at Glassworks Amsterdam
Since the demise of the CRT monitor, post production facilities have been forced to make do with less than ideal solutions. Dolby is not the only company to come up with a solution; Sony's OLED monitor
has also drawn interest (and also won a 2011 HPA Excellence in Engineering Award). Dolby's sale to Deluxe of multiple units, for installation in Hollywood's top digital intermediate facilities is a vote of confidence in Dolby's solution. It also signals that the industry may, finally, be moving past the transitional stage marked by the end of the CRT monitor. The future no doubt holds more choices in professional monitors from Dolby, Sony and others. That's good news for the post professional pros who mourn the demise of the CRT and post production facilities that have had to make significant compromises in making monitoring choices.
|Related Articles / Tutorials:|
The Lion King's Virtual Cinematography: Caleb Deschanel, ASC
Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!
Shooting RED 8K for Danny Boyle's Yesterday
The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.
Spider-Man Far From Home Cinematographer Matthew Lloyd
Matthew Lloyd, cinematographer for Spider-Man: Far From Home, takes us behind the scenes of the film and shares techniques for lighting and shooting massive visual effects scenes. Matthew and Go Creative Show host Ben Consoli, discuss working in Marvel’s Cinematic Universe, using pre-vis to prep for shots with VFX, creating Spider-Man’s holographic world, plus Matt’s camera and lens choice, his experience with commercial and fashion filmmaking, audience questions and so much more!
DJI Osmo Action Camera In-Depth: Taking on GoPro
The DJI Osmo Action is DJI's first GoPro-like action camera. It shoots crisp 4K video at 60 FPS, and super slow motion at 240 FPS at 1080p, also with support for HDR and terrific RockSteady image stabilization. Especially interesting: TWO LCD screens to make it easy to see what you're shooting from every angle. VFX guru and filmmaker, Surfaced Studio's Tobias G puts the Osmo Action through its paces and tells all about what he likes and doesn't, with lots of sample footage for you to judge for yourself!
Stuart Dryburgh: DP for Men In Black International
Stuart Dryburgh, cinematographer for Men In Black International, joins Go Creative Show host, Ben Consoli, to discuss creating the look for the film. Stuart talks about the challenges of working in an established franchise, filming in NYC in the snow, why Stuart prefers Arri Alexa cameras, his lighting and lens choices for the film, shooting action scenes, and more!
Capturing ProRes RAW
Apple ProRes RAW has lots of buzz, and can offer some great opportunities in both shooting and post, once you know how to capture it. Director Steve Pierce and DP Igor Kropotov explain why they love it, how to capture it on set, and what tools you can use.
Small HD FOCUS 7 4K Monitor Hands On
Here's a first look at the SmallHD FOCUS 7, a 7-inch, 4K monitor that packs significant production value in a moderate price. The monitor includes Small HD’s OS3 software, which gives users access to features such as pinch-to-zoom, waveform monitors, focus pulling, 3D LUTs, and more, in a build that's lightweight, durable, and retains mobility.
GoPro HERO7 First Look
The new GoPro HERO7 can do WHAT? Join Steven John Irby, co-owner and director of Street Dreams Magazine, for a look at the most advanced GoPro yet: HyperSmooth Stabilization, TimeWarp Video, live streaming, voice control, waterproof, and much more.
Five Cinematic Drone Shots For You To Master
If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.
Filming In Small Spaces
"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.