It has come to our attention that Premiere Pro can initiate a Wraptor DCP packaging task directly without using Adobe Media Encoder CC. Please ONLY use the current Premiere Pro CC (8.1 or newer) and Adobe Media Encoder CC (8.1 or newer) to invoke a Wraptor DCP packaging task for correct color. You can download the latest release version of the Premiere Pro CC (8.1) and Adobe Media Encoder CC (8.1) from Adobe Creative Cloud!
Feature Comparison between Lite and Pro version
QuVIS Wraptor Lite 3.1 DCP encoder for Adobe Media Encoder CC
Finally, an easy to use Digital Cinema Packaging tool!
I am very pleased and excited to announce the availability of our Wraptor™ Digital Cinema Package (DCP) technology for Adobe Media Encoder CC.
This Wraptor™ technology is included standard in Adobe Media Encoder CC and is intended to address independent media production and film school applications on both Windows and Mac OSX computer platforms. This package addresses the typical issues which can arise as people begin to utilize the DCP theatrical format. In the past. people using video equipment and a desktop work flows often encountered issues due to the differences in image size, aspect ratio, color calibration, frame rates, audio sampling rates, resolution, and audio channel assignment when producing theatrical DCPs. Wraptor™ and Adobe Media Encoder CC work together to produce a very easy to use, high quality solution for these problems.
If you are producing theatrical content with correct DCI size and aspect ratios, it will be packaged as it is provided. If you have HD video content, 4×3 film scans, or some other format, it will automatically resized to fill the the specified DCP container. Note that this quality image resizing is a lot of computing, so enabling available graphics processing is advised.
Video gear generally operates at slightly lower or higher frame rates that the international standard for theatrical movie releases which is 24 frames per second. Adobe Media Encoder CC and Wraptor team up to painlessly convert video and other content at 23.976, 24, 25, 29.97 and 30 frame per second into standard 24fps theatrical format.
Processing and converting audio sample rates and resolutions for a DCP often got a little tricky in the past, especially when frame rate conversion was also required. Adobe Media Encoder CC and Wraptor™ team up to make this a painless process, supporting both stereo and 5.1 surround sound in the required 48 Khz, 24 bit per sample, format.
The DCP format can support a very large color space and originally most studio theatrical features were mastered in the P3 color space, which is larger than the video standard. However, the BT709 video and computer color space can also yield beautiful theatrical results when properly utilized, and is becoming common even for high end applications. QuVIS worked on color calibration for this release with a major movie post production group to make sure that current studio expectations were achieved for a BT709 work flow. The results of this package are now as good or possibly even better than achieved by some of the highest priced authoring equipment available. Note: Color calibration work was not complete in time for the initial Adobe Media Encoder CC release, so please make sure to get the latest update of Wraptor™ before doing critical color work.
Encoding quality and efficiency
QuVIS was the original developer of wavelet based compression technology for theatrical distribution and provided all of the wavelet based encodings of major theatrical releases for many years, starting in 1999 with Toy Story II. The Quality Priority Encoding method, QPE™, QuVIS developed provides the most efficient encoding method for DCPs currently available. The encoding quality level for the Adobe Media Encoder CC Wraptor package is fixed at the same level selected by several of the major movie studios for their theatrical releases. Be assured that if your content is spectacular, the resulting DCP will be as well.
Speed of operation
We focused primarily on ease of use and image quality for this release, but we are happy to see that speed of operation is still quite good. For content which is in the desired size and aspect ratio, roughly real time processing can be achieved by a medium high end computer, and higher end systems can easily be faster than real time. Even a low end system can provide useful DCP packaging performance. If frame size and rates are converted, the time for conversion processes dominates the processing time.
We are proud to offer this new tool to the independent film maker.
Kenbe D. Goertzen
CTO, QuVIS Technologies, Inc.
QuVIS Wraptor Pro 3.1 DCP encoder for Adobe Media Encoder CC
QuVIS now offers a pro Wraptor plug-in for Adobe Media Encoder CC for special technical and commercial DCP processing applications and requirements. Here are the highlights:
The Pro Wraptor version is as easy to use as the free version, but adds 4K formats and the HD and UHD advertising DCP media sizes as well.
The standard frame rate for theatrical movies has been 24 frames per second for about 100 years now. Perhaps it is time for a change? Most currently installed cinema players support 24, 25, and 30 frames per second and some support 48, 50 and 60. These new rates have all been added to the Pro version and are as easy to use as 24. If you have an application for other rates such as 72, 75, 96, 100, and 120 please let us know!
The Pro version adds support for 7.1 audio to the already available stereo and 5.1 audio, and adds the option for a 96 Khz sample rate. All the same automatic processing and converting audio sample rates is available if the source media is not quite what it needs to be, saving countless hours of manual setup and processing.
Encoding quality and efficiency
The Pro version adds controls to the Quality Priority Encoding method, allowing potential signal fidelities above and below studio theatrical guidelines. Operation at 3 and 6 dB above theatrical (typically a 40% and 100% increase in average rates, over theatrical) is now possible for applications such as archive and production elements. Operation at 3, 6, 9, and 12 dB below theatrical is also possible, for fine control of release size and the absolute minimum data rates. Some major motion pictures have been successfully released at 6dB below guidelines. The data rate ceiling is also adjustable down from the DCI standard rate of 250Mb/s allowing a hard limit to the maximum data rate. An additional option to increase the rate to 500 and 1000 Mb/s is in the works for to support archive applications and to possibility of SMPTE changes to the standard for 4K and High Frame Rate (HFR) modes.
In the Pro Wraptor version, we assume DCP packaging is a major issue for the customer, not just an occasional requirement, so we get greedier with our request for computing resources. Therefore, especially on high performance platforms, Pro Wraptor will substantially outperform the free Wraptor offering. Speeds well above real time are easily obtainable on typical media rendering systems.
Advanced Encoding Tools, coming soon!
We can currently produce the smallest DCP sizes in the industry, with the best rate distortion performance allowing us to retain excellent quality. This has not been very important when movies were shipped to theaters on 400 Gbyte disk drives, but if they are delivered electronically, or broadly to consumers, or on blu-ray optical disks, suddenly the data payload becomes very very important! The advent of consumer 4K and UHD displays and projectors has highlighted the virtual vacuum of suitable content for these devices! We are now working to add tools to Wraptor Pro which allow data rates as low as one fourth of our current rates while retaining big screen theatrical quality and full JPEG2000 and DCI DCP compatibility.
QuVIS Ovation™ Software Digital Cinema Player
It is now possible to provide a 2K and 4K DCP player entirely in software running on a mid to high end personal computer. This is rather remarkable to me, in that only six or seven years ago, our best efforts with a mid to high end personal computer struggled to exceed about four frames per second of 2K DCP content. Since then both software and hardware have improved, and now, 2K DCP rates of up to 120 fps are probably within reach, if anybody wants them. The focus of late has been to provide robust 4K playback on reasonably cost effective hardware. I think we are very very close to getting this done on computers based on Intel’s 4770 processor, which puts a consumer 4K DCP player within reach.
QuVIS currently offers the Ovation™ DCP player for the Mac OSX platform which can provide robust playback of 2K DCPs in software on the current MacBook Pro, or higher end Mac platforms.
On high end MacPros, this software will provide 4K DCP playback which is useful for post production preview, but currently playback performance is a little less than robust for general movie viewing.
Based on the current Wraptor™ and Adobe Media Encoder CC project with Adobe and their support of both Mac and Windows platforms, we are now working to support a Windows version of the Ovation™ DCP player as well. The commercial release of this player is expected in the fall.