Copyright Quantel September 2014

specification subject to change

Pablo Rio, Pablo PA

V2.0 rev 13
New Feature List

If you have any questions please contact Damon Hawkins

damon.hawkins@quantel.com
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V2.0 rev 13 New Features September 2014

New feature headlines:

Improvements to the video output menu

Flow Motion motion estimated speed changes
Un-localise / re-soft mount of clips
Partial localise direct to the timeline
DCP Import / Soft mount
QUtilities plugin menu added to Pablo PA
Quicktime Export add Fast Start header for streaming
Upgrade ARRIRAW SDK to 4.5
Export / Import / Soft mount ProRes 4444 XQ
Import / Soft mount Sony long GOP XAVC
Import Sony SDK added support for SGamut-3 / Slog-3
Export AS-11 MXF with UK DPP Specification

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Improvements to the video output menu

The video output menu has changed to make it simpler and more intuitive to use. Previously there was
a long list of output formats with many combinations made available. This has now been simplified to
only show allowed resolution / framerate combinations to be displayed.

For example when HD 1080 is selected as an output resolution then all possible frames rates are
shown as above. With HD 720 selected then the framerate choice is much more restricted with only the
possible framerates shown.

It is also possible to save the selected combinations as a favourite or custom setting.

By clicking on save a default name will be suggested and this

can either be kept or renamed.

Items from the custom list can also be deleted by clicking the X on
the right as shown.

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Flow Motion motion estimated speed changes

In addition to the existing a/v stretch feature available from the Desktop clip menu to the right is flow
motion, a motion estimated toolset to give deinterlace, noise reduction and speed change options that
use advanced image motion analysis.

The layout of the flow motion menu is very similar to a/v stretch in basic operation with some additional
menus.

Input and result scan options

By default, any flow motion process will produce an output which is in the same format as the input
source. The Input scan and Result scan will automatically reflect the source clip. Where the Input scan
is interlaced then setting the Result scan to progressive will render a high quality result based on the
motion in field 1. The number of frames in the result clip remain the same as the source clip. There is
no effect in setting a progressive source and an interlaced result in this version.

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Denoise
There is a basic denoise functionality available. For simplicity there is a single selector that will allow
the degree of noise removal to be chosen. If this is set too far in the high direction then image quality
will be reduced.

Speed change
Speed selection and profiling options are the same as a/v stretch. There is no audio element to flow
motion however.

Motion estimated speed change seeks to measure the motion of objects from one frame to the next and
then calculate the position of an object at some fraction between the two. The image is then
reconstructed at this fractional point. This is not an absolute calculation and there may be artefacts
caused by the softwares ability to find the corresponding feature in the next frame.

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Also, the further the software has to search for a match then the more likelihood there is of an error
and speed of processing will be adversely affected. Two controls are provided to help bracket these
issues:
1. Scene motion selection.
The faster objects are moving around the scene the larger the area that has to be searched for a match.
Set this control to the slowest end of the scale to commensurate with a quality result.

2. Scene Clutter selection.

The more complex the scene is then the more discerning the search process needs to be. Again, this
will have an impact on performance both in speed and quality. Only experience and trial and error can
guide the user to the best settings for any particular shot.

Note:
Flow Motion uses a lot of CUDA memory especially at 4K. If media is also soft mounted and uses
CUDA such, as RED r3d files, then memory requirements become much greater. It is recommended
that if Flow Motion is to be used on soft mounted RED material then at least 2 Tesla cards would be
required or the media localised first.

Un-localise / re-soft mount of clips

There may be cases where it is beneficial to un-localise or re-soft mount a clip that has been localised.
For example if an r3d file has been localised with the incorrect debayer settings then it would be good
to be able to gain access to them, for changing for example the dynamic range or iso whilst grading.

This can be done by right clicking (alt+tap) on the timeline, on a floating clip or in the library and
selecting remount as shown.

In the library there is an option to remount video and audio separately.

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Partial localise direct to the timeline

This development allows soft mounted DPX clips (or other file sequence types) to use localised media if
present.

This is particularly useful for Pablo Rios and Pablo PAs that may be soft mounting clips via Sam on
older GE systems. This allows subsections of the timeline to be chosen as clips for localisation in the
order theyre required. As each clip localisation finishes and is placed in the clips library, that section of
the original soft-mount timeline will use the localised media in preference to the soft-mounted remote
media.

This brings the behaviour of such functionality in line with formats such as RED where the same
functionality is handled.

DCP Import / Soft Mount (requires licensing otherwise media will appear low res after the first few seconds)
DCP compositions can be imported or soft mounted. Navigate first to the DCP directory as shown. Next
select the DCP tab at the bottom of screen and select open DCP. The composition will be displayed
and can then be dragged into the workspace for import of soft mounting.

1. Select directory 3.Open DCP bin

2. Select DCP tab

Note: There is still some performance optimization to be completed with DCP in, especially at 4K. This
will be part of a future release.

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QUtilities plugin menu added to Pablo PA

In order to maintain compatibility beyween Pablo Rio and Pablo PA, especially to support the use of luts
per cascade, the QUtilities plugin menu has been added to Pablo PA as shown.

It will be available wherever the plugins menu is present.

Quicktime Export add Fast Start header for streaming

Previously the Quicktime export code writes out all the video data and then writes a header at the end.
To support streaming the file, the header is now at the beginning of the file. This is now the default for
all Quicktime file exports.

Apple ProRes export has always supported this.

Upgraded ARRIRAW SDK to 4.5

The new SDK contains the following new features:
Support for Open Gate formats (3424x2202)
Support for new colour spaces scene linear wide gamut and scene linear camera native
Support for 1.3x and 2.0x anamorphic lenses
Support for various upscale formats (4K and Quad HD)
Support for monochrome footage (ALEXA XT B+W)

The de-bayer menu has been updated to reflect these changes. The SDK level is auto detected from
the file header. Depending on the SDK level detected some of the features may not be available such
as in the case of older D20 and D21 files.

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De-bayering modes
An explanation of de-bayering can be found here:
http://www.arri.com/camera/alexa/workflow/working_with_arriraw/arriraw/de_bayering/

Mode Description
ADA-1 HW current camera hardware de-bayer algorithm introduced with SUP 7.0
ADA-2 SW More complex de-bayering with extended edge handling
ADA-3 HW Hardware optimised de-bayering as realised in new ALEXA cameras
ADA-3 SW enhanced software de-bayering algorithm based on ADA-3 HW. Depending on the
scene content, it can deliver more image detail than ADA-3 HW

Note:
For legacy material shot on D20, D21 cameras, these cameras only support only SDK level 1.

Sample images taken from 2880x1620 Colour test chart zoomed in 19x:

ADA-1 ADA-2

ADA-3-HW ADA-3-SW

De-bayering modes are unsupported when using proxy mode.

Monochrome footage does not support de-bayering modes.

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Colour space modes

Colour Colour space Description

encoding
Log C Camera native Native camera colour space, no colour matrix is applied2
Film Film-style colour mapping
Wide Gamut Camera internal colour space, used for V3 LogC encoding
Monochrome LogC monochrome colour space3
Video ITU709 Primaries of the output colour space according to ITU Rec. 7092
P3 Primaries of the output colour space according to DCI P3 colour
space2
Monochrome Video monochrome colour space3
Scene Linear4 ACES Primaries of the output colour space according to ACES
specification2
Wide Gamut Camera internal colour space1
Camera Native camera colour space, no colour matrix is applied1
Native

1. SDK level 3 does not support Scene Linear Wide Gamut or Camera Native colour spaces
2. SDK level 1 only supports LogC Camera native, ITU709, P3 and ACES colour spaces. For
legacy material selecting ACES colour space may result in a decoder error depending on the
camera used to shoot the material.
3. Monochrome footage only supports monochrome colour spaces and colour footage cannot be
converted to monochrome colour space.
4. Files imported using Scene Linear colour spaces should change the colour format to Log space.
Select the clip in the clips bin, from the menu select attributes and change log/lin from linear
to logarithmic.

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Scaling modes (non-proxy mode)

Where sizes are not hosepipe aligned, the hosepipe aligned size appear in brackets following the
scaled size.
For 3424x2202 only SDK level 4 is supported.
For legacy material shot on D20 and D21, only support SDK level 1
For SDK levels 1 and 3 only Native 2880px, 2K, HD 4:3 aspect and SD downscale modes are
supported.
Anamorphic factors should only be applied to material that has been shot using an anamorphic
1.3x or 2.0x lens. For spherical lenses the standard anamorphic factor 1 should be used.

Size Scaling mode Anamorphic Factor Scaled resolution

3424x2202 Native 1 3414 x 2198 (3424 x 2198)
2K 1.78:1 aspect 1 2048 x 1152
2K DCI 1.85:1 aspect 1 1998 x 1080 (2000 x 1080)
2K 1.85:1 aspect 1 2048 x 1108
2K 2.39:1 aspect 1, 1.3, 2 2048 x 858
HD 1.78:1 aspect 1 1920 x 1080
HD 1.85:1 aspect 1 1920 x 1038
HD 2.39:1 aspect 1, 1.3, 2 1920 x 804
4K DCI 1.78:1 aspect 1 3840 x 2160
4K 1.78:1 aspect 1 4096 x 2304
4K DCI 1.85:1 aspect 1 3996 x 2160 (4000 x 2160)
4K 1.85:1 aspect 1 4096 x 2214
4K 2.39:1 aspect 1, 1.3, 2 4096 x 1716
Quad HD 1.85:1 aspect 1 3840 x 2076
Quad HD 2.39:1 aspect 1, 1.3, 2 3840 x 1608
2880x2160 Native 1, 1.3, 2 2880 x 2160, 3744 x 2160, 2880 x
1080
2K 1, 1.3, 2 2048 x 1536, 2048 x 1184, 2048 x
768
2K 1.78:1 aspect 1 2048 x 1152
2K 2.39:1 aspect 1, 1.3, 2 2048 x 1113, 2048 x 858, 2048 x
858
2K DCI 1.85:1 aspect 1.3 1998 x 1080 (2000 x 1080)
HD 1.78:1 aspect 1, 1.3 1920 x 1080
HD 2.39:1 aspect 1, 1.3, 2 2160 x 1620, 2160 x 810, 1920 x
804
HD 4:3 aspect 1, 1.3, 2 1920 x 1440, 1920 x 1110, 1920 x
720
SD 1, 1.3, 2 768 x 576, 768 x 576, 768 x 288
4K DCI 1.78:1 aspect 1.3 3840 x 2160
4K DCI 1.85:1 aspect 1.3 3996 x 2160 (4000 x 2160)
4K 2.39:1 aspect 1, 1.3, 2 4096 x 2228, 4096 x 1716, 4096 x
1716
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4K 1, 2 4096 x 3072, 4608 x 1728

Quad HD 2.39:1 1, 1.3, 2 4320 x 3240, 4320 x 1620, 3840 x
1608
Quad HD 4:3 aspect 1, 2 3840 x 2880, 3840 x 1440
2880x1620 Native 1, 1.3, 2 2880 x 1620, 3774 x 1620, 2880 x
810
2K 1, 1.3, 2 2048 x 1152, 2048 x 888, 2048 x
576
2K 1.78:1 aspect 1 2048 x 1152
2K 2.39:1 aspect 1, 1.3, 2 2048 x 1113, 2048 x 858, 2304 x
626
HD 1.78:1 aspect 1, 1.3 1920 x 1080, 1920 832
HD 2.39:1 aspect 1, 1.3, 2 2160 x 1216, 2160 x 608, 1920 x
601
HD 4:3 aspect 1, 1.3, 2 1920 x 1080, 1920 x 832, 1920 x
540
SD 1, 1.3, 2 768 x 432, 768 x 432, 768 x 216
4K 2.39:1 aspect 1, 1.3, 2 4096 x 2228, 4096 x 1716, 4608 x
1252
4K 1, 2 4096 x 2304, 4608 x 1296
Quad HD 2.39:1 1, 1.3, 2 4320 x 2430, 4320 x 1216, 3840 x
1204
Quad HD 4:3 aspect 1, 2 3840 x 2160, 3840 x 1080
2868x1614 2K 1.78:1 1 2048 x 1152

Supported proxy modes

A proxy mode can be enabled by checking the box as shown.

The following table details for which sizes, modes and anamorphic factors, proxy mode is supported,
imported sizes that are not hosepipe aligned, the aligned size appears in brackets following the scaled
size.

Monochrome footage does not support proxy mode

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Size Scaling mode Anamorphic Factor Scaled resolution

3424x2202 Native 1 1707x1099 (1712x1099)
2K 1.78:1 aspect 1 1024x576
2K DCI 1.85:1 aspect 1 999x540 (1000x540)
2K 1.85:1 aspect 1 1024x554
2K 2.39:1 aspect 1, 1.3 1024x429
HD 1.78:1 aspect 1 960x540
HD 1.85:1 aspect 1 960x519
HD 2.39:1 aspect 1, 1.3, 2 960x402
2880x2160 Native 1,1.3*, 2 1440x1080, 1440x540, 1440x540
2K 1, 1.3, 2 1024x768, 1024x384, 1024x384
2K 1.78:1 aspect 1 1024x576
2K 2.39:1 aspect 1, 1.3, 2 1024x429
HD 1.78:1 aspect 1.3 960x540
HD 2.39:1 aspect 2 960x402
HD 4:3 aspect 1, 1.3, 2 960x720, 960x360, 960x360
SD 1, 1.3, 2 384x288, 384x144,
2880x1620 Native 1, 2 1440x810, 1440x405
2K 1, 1.3, 2 1024x576, 1024x288, 1024x288
2K 1.78:1 aspect 1 1024x576
2K 2.39:1 aspect 1, 1.3, 2 1024x429
HD 4:3 aspect 1, 1.3, 2 960x540, 960x270, 960x270
SD 1, 1.3, 2 384x216, 384x108, 384x108

* Only works with SDK level 1 and 3

Note:
When proxy mode this may enable real time playback of soft mounted material. When rendering it
needs to be disabled in order to render at the desired scaled size, otherwise the rendered size will be
the proxy size.

Conversion of older downscale modes to new modes

If ARRI files have been soft mounted in a previous version they will be converted to the equivalent new
downscale mode where it is possible.
The following table details how the new sizes are matched to the new downscale modes.

Sensor size Downscale size New downscale mode

2880x2160 2880x2160 Native
2304x17281 Native
2048x1536 2K
1920x1440 HD
1440x1080 Native proxy (2880x2160->1440x1080)
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960x720 HD proxy (1920x1440 -> 960x720)

768x576 SD
2880x1620 2880x1620 Native
2304x12961 Native
2048x1152 2K 1.78:1
1920x1080 HD 1.78:1
1440x810 Native proxy (2880x1620 -> 1440x810)
960x540 HD proxy (1920x1080 -> 960x540)
768x432 SD

1. 2304 widths have no direct equivalent scaling mode in the new SDK, these are now set to
native resolution, it is advised that these should be set by the user to the desired available
scaled sizes. A warning will be presented to the user if such material is accessed.

Conform
For conform there is an additional button to set the sensor size, this is required to allow the user to set
the required downscale mode and size.

Note: If you drop settings saved from a previous version the sensor size will default to 2880x2160 and
the scale mode to Native. The user should modify the settings if the default settings are incorrect.

For soft mounted material it is possible to modify one or more segments that are composed of different
ARRI files. However, the downscale modes are specific for a particular sensor width and in some cases
camera and colour space. This means that if you have an edit consisting of open gate (3424 pixel
width) and 2880 pixel width, you cannot select both segments and set both of them to the same scaling
mode settings. The settings have to be applied to segments that have the same pixel width. Other
caveats are legacy material such as D20/D21 footage and monochrome material. For instance you
could not change the SDK level to 4 for D20/D21 material and likewise if you had a mixture of
monochrome and colour footage you could not set them both to use Scene Linear colour spaces.

Export / Import / Soft mount ProRes 4444 XQ

Apple have created a new codec Apple ProRes 4444 XQ which is a higher bit rate version of Apple
ProRes 4444 which Quantel now support on export, import and soft mount. Some cameras such as the
new Alexa XR/XT will support this codec.
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This format has a very high data rate to preserve the detail in high-dynamic-range imagery generated
by todays highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges
several times greater than the dynamic range of Rec. 709 imagery. This holds true even against the
rigors of extreme visual effects processing in which tone-scale blacks or highlights are stretched
significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel
and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of
approximately 500 Mbps for 4:4:4 sources at 1920x1080 and 29.97 fps.

Note: The export option for Apple Pro Res 4444 XQ (ap4x) will only appear in the menu if the clip is
logarithmic.

Import / Soft mount Sony long GOP XAVC

The following formats Sony XAVC long GOP formats are supported for import and soft mount.

XAVC HD Profile for the XAVC MXF File Format

Max Bit Frame Rate
Video
Rate 50i 59.94i 23.98p 24p 25p 29.97p 50p 59.94p
Resolution
(Mbps)
1280 x 720 50 Y Y
1920 x 1080 50 Y Y Y Y Y Y Y
1920 x 1080 35 Y Y Y Y Y Y Y
1920 x 1080 25 Y Y Y Y Y

XAVC 4K Profile for the XAVC MXF File Format

Max Bit Frame Rate
Video
Rate 50i 59.94i 23.98p 24p 25p 29.97p 50p 59.94p
Resolution
(Mbps)
3840 x 2160 188 Y Y Y
3840 x 2160 300 Y Y

Import Sony SDK added support for SGamut-3 / Slog-3

Both of these have been added to the Colour Space and Profile de-bayer choices in the import menu.

Colour Space:
This applies a set of matrices to the raw data to transform the
original sensor data to a selection of standards. This is a colour
gamut conversion only.

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S-Gamut/S-Gamut3 - The cameras native colour space

S-Gamut3.cine - A wider colour space more adapted to grading. Colorimetrically close to P3DCI.

sRGB/Rec709 , P3DCI, P3D60, XYZ, ACES - S-Gamut data are converted to the selected standard.

ACES - must be paired with a profile of ACES for correct operation.

Profile: The Colour Space converted data is fed through 1D luts

to change the intensity based input into a more useful form for
onward computation.

Linear: This presents intensity data to the clip. Generally this will appear dark as the normal intensity
range sets black to 512 and scene white to 5472 counts from a potential range of 65536 counts. To
assist with seeing this data a scale factor control is enabled when Linear mode is selected.

S-Log2: This Sony profile converts the input data into a film like density response. When colour
correcting this material then the standard DMin and DMax settings in the pre-process should be
changed to:
DMin = 90
DMax = 582

S-Log3: The latest Sony profile conforming more closely to Cineon negative workflows. For this the
DMin and DMax in pre-process should be changed to:
DMin = 95
DMax = 610
These settings can also be changed to new defaults in the F1 page.

ACES: Converts the data to conform to Quantel ACES processing standard. ACES selection must be
paired with ACES in Colour Space for correct operation. The correct DMin and DMax settings
in the colour corrector pre-process are:
DMin = 143
DMax = 494

3D lut availability:
A package of viewing and pre-process luts is available in 17, 33 and 65 vertex to suit the users
system. This is available here http://www.quantel.com/repository/files/SonyManagedLuts_July14.zip

This package contains luts at all sizes and the user is recommended to use luts at the highest
resolution for their system.

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Export AS-11 MXF with UK DPP Specification

Selecting the options below will export an MXF files that is compatible to the UK DPP Shim
specification.

The resultant file can then be opened with the DPP metadata app
http://www.digitalproductionpartnership.co.uk/downloads/metadata-application/

When opened the required fields highlighted in red will need to be filled in with the appropriate
information before a valid file is made.

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Once the file is valid then a DPP AS-11 file can be generated with or without the sidecard XML file as
shown below.

Future development will allow the generated XMLs file to be used in the export menu to write the
appropriate metadata fields into the file.

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