intro

1. INTRODUCTION

1.1. About this manual

1.1.1. Copyright Notice

All rights reserved. No part of this document may be reproduced, copied or transmitted in any form by any means electronic, mechanical or otherwise without the permission of Marquise Technologies sàrl. If you are interested in receiving permissions for reproduction or excerpts, please contact us at contact@marquise-tech.com.

1.1.2. Trademarks

Marquise Technologies, the company’s logo and products' logo are pending registration trademarks of Marquise Technologies sàrl. All other trademarks mentioned here within are the property of their respective owners.

1.1.3. Notice of Liability

The information in this document is distributed and provided “as is“ without warranty. While care has been taken during the writing of this document to make the information as accurate as possible, neither the author or Marquise Technologies sàrl shall not be held responsible for losses or damages to any person or entity as a result of using instructions as given in this document.

1.1.4. Conventions

This documentation makes use of several symbols and typographical conventions in order to differentiate various paragraphs from standard descriptive text. Here is the list of symbols and typographical styles used:

INFO : Additional information about the current topic.

WARNING : Important information that you should always take into consideration.

TOOL-TIP : Additional information about tool usage

1.2. About ICE

ICE is a Reference player for the playback and QC of high-end content in any format from SD to 4K, including DCP as well as Interoperable Master Format (IMF) packages. Validation tools, audio & image analysis and support for automated QC reports complete the toolset.

Dedicated to post houses, broadcasters, archives and cinema operators, ICE plays natively all the formats used in the industry in the production, post production and distribution phases, and also support ACES and HDR content.

1.3. Documents & Resources

The release notes, the latest available version of the software and the Knowledge Base is available on Marquise Technologies support portal.

1.3.1. Creating an account on the Support Portal

Register yourself on our support portal to get access to latest software releases and Knowledge Base article.

1.4. Contacting Support

Support is available for customers under a valid support and maintenance program.

All the Support requests need to be sent using our ticketing system, accessible from the Support Portal.

To inform us of an issue or place a question related to product support, please go under TICKETS to create a new ticket.

Please report only one question or issue per ticket and indicated the version of the software you are using.

The more information you give us, the best we can help.

Please note that for urgent tickets we process them in order of arrival.

2. INSTALLATION

This chapter covers high level information about ICE, and in particular:

  • Hardware Requirements

  • Software installation

  • License installation

  • Opening and exiting the application

2.1. Hardware Requirements

The way ICE playbacks media highly depends on the capabilities of the hardware chosen. Please make sure to select the workstation according to your needs.

Operating System

Microsoft Windows 10 64 bit

WARNING
From January 2021 onwards, Windows 7, Windows 8 and Windows 8.1 are deprecated.

Supported GPU

NVIDIA P4000, P5000, P6000,
GTX 1080, GTX 1080ti,
RTX 4000, RTX 6000, RTX 2080, RTX 2080ti,
RTX 3080, RTX 3080ti, RTX A6000

IMPORTANT
All configurations MUST have 2 GPUs when GPU is used for decoding JPEG2000 (DCP & IMF).
A single GPU machine will not reach its peak performance.

TIP
In order to ensure the proper functioning of Nvidia’s GPUs cards, please keep up to date the version of your drivers and refer to the Multi-GPU Configuration article of the Knowledge base.

Supported Video IO cards

Bluefish44 Kronos, Bluefish444 Supernova S+, Bluefish444 Neutron,
AJA Kona 5, AJA Kona 4, Aja Corvid 88,
BlackMagic DeckLink Studio 4K

Storage

Whatever the type of storage chosen, internal, NAS or SAN, its capacity and bandwidth will impact the playback speed of ICE.

TIP
Count 30% overhead to the necessary bandwidth for a particular media.
For example to assure a realtime playback of a 800 Mbit content, the network must serve sustained 1040 Mbit.

Screen

Minimum 1 screen of 1920 x 1200 resolution.
The second screen for dual display mode can be of 1920 x 1080 resolution

RECOMMENDATION
For ease of use and optimal rendering, we recommend a Dream Color Z 27 series or similar type screen of 2560 x 1440.

2.2. Recommended Hardware configurations

2.2.1. Recommended Systems for DCP Playback

HP Z8

CPU

Dual Intel Xeon Gold 6130 processors or higher

Memory

Minimum 64GB

GPU 1

1 NVIDIA RTX 4000

GPU 2

1 NVIDIA RTX 6000

Video IO

Bluefish444 Supernova S+, AJA Kona 4 or higher

2.2.2. Recommended Systems for IMF Playback

HP Z8

CPU

Dual CPU Intel Xeon Gold 6134 3,20Ghz processors or higher

Memory

Minimum 128GB

GPU 1

1 NVIDIA RTX 4000

GPU 2

1 NVIDIA RTX 6000

Video IO

Bluefish444 Kronos ēlektron, AJA Kona 5, Corvid 88

Supermicro SYS-7049GP-TRT

CPU

Dual CPU Intel Xeon Gold 6134 3,20Ghz processors or higher

Memory

Minimum 128GB

GPU

Minimum 3 x NVIDIA RTX 2080ti

Video IO

Bluefish444 Kronos ēlektron, AJA Kona 5, Corvid 88

2.3. Video Output capabilities

ICE is able to achieve different video output workflows, according to the different supported devices.

Output Workflows Recommended Device

Dual 4K 60p in SDI

- AJA Kona 5 (12G SDI)
- AJA Corvid 88 (3G SDI)
- Bluefish444 Kronos ēlektron

Simultaneous 1 x 4K 60p in SDI
and 1 x 4K 60p in HDMI 2.0
(including Dolby Vision tuneling)

- AJA Kona 5 (12G SDI)

Single 8K in SDI

- AJA Kona 5 (12G SDI)
- AJA Corvid 88 (3G SDI)
- Bluefish444 Kronos ēlektron

Single 8K in HDMI 2.0

- NVIDIA RTX

Single 4K 120p in HDMI 2.0

- NVIDIA RTX

Video Over IP (SMPTE ST-2110)

- Bluefish444 Kronos optikós
- AJA Corvid 88 (3G SDI) + AJA IPT-10G2-SDI

2.4. Software Installation

ICE latest release version can be downloaded from the Support Portal.

Follow the instructions of the Set up wizard for the installation on your computer :

Start

2.5. Starting ICE

On opening, the System module is displayed.

If it is the first time you launch ICE, it opens on the System / User page:

Start

For all further openings, ICE opens by default on the System / Project Manager page.

2.6. License installation

Launch the software to install the license.

From support@marquise-tech.com , you should have received a license file: license.dat. Sometimes, for a special purpose, this file has a different name, you just need to rename it like this.

To import the license, click on the Browse icon:

Start

Browse the file system to the location where you have stored the license.

By default ICE browser filters the files to only display ".dat" files in order to ease the search:

Start

Validate with OK

Once the License has been successfully installed, the License Status displays the type of license:

Start

2.7. Closing ICE

From the System Module, use the button QUIT at the bottom of any of the pages in this module.

From the TimeLine module, use the icon Start Home to go back to the System Module.

3. GETTING STARTED

This section covers high level information about ICE, and in particular:

  • ICE User Interface Structure

  • Interface Basics

ICE is built around the TimeLine. This backbone is the principal module, from where all the features to achieve QC are accessible.

Another module is the System Module, the entry point to access all system-level settings and manage your projects.

3.1. Overview of the System Module

The System Module is the first module to appear when starting MIST.

In this module are set the parameters for the system, that will be valid for all the projects.

This is also the place where you can set user interface preferences or add a control panel.

This module is detailed under the chapter System Settings.

3.2. Overview of the Project TimeLine Module

In ICE a project designates a whole structure of directories and files that all together make up the project. The project can be then seen as a shell for various objects that you work with or work on, including assets (video, audio, timed text) and metadata.

Managing the content to playback per project is necessary when you work with component based media, and it allows ICE to support supplemental packages and multiple compositions when playing back DCP and IMF content. The general hierarchy of a project is based on various key elements that are used while working on a project. These elements are listed in the table below:

Project settings

Parameters that define the project at the top level such as default composition settings, user interface settings, video IO settings, etc.

Project media bin

The Project media bin references media before it can be used in a composition. It is accessible from the Media tab of the the Command Panel .

Compositions

Each composition is an actual timeline with video and audio capabilities. Any playback will be done within a composition.

Various metadata

Other metadata stored in the project.

The TimeLine module is the most important module of ICE. From there all the necessary tools such as color analysis and playback functions are available.

The TimeLine Module workspace is composed of different elements:

  • The Menu Bar

  • The Command Panel

  • The Image Viewport

  • The Timeline

timeline

3.2.1. The Menu bar

Media

This menu bar gives access to various capabilities of ICE, related to content management or specific features.

Content management

Media

HOME

Access to System Module / Exit the Project

Media

PROJECT SETTINGS

Access to the Settings for the Project

IMPORT

Import metadata files (EDL, cutting list, color decision list, QC report, etc.), as well as content packages (DCP, IMF) and KDMs.

EXPORT

Export metadata files (EDL, cutting list, etc.) and reports

CONFORM

Access the Conforming panel

Features

EVENTS

Show / hide the Events Viewer

GRADE

Access to Color Grading

VPD

Access to Video Pipeline Diagram

3.2.2. The Command Panel

The Command Panel gives access to the assets of a project (media, compositions, metadata) as well as some tools for working with those assets.

From there you will also be able to import and manage the media for the project.

Accessing the Command Panel

By default on opening of a new project the Command Panel is displayed. You can hide it using the icon Media COMMAND below the panel itself:

Command
Command Panel Menu

On the left of the panel a vertical menu bar give access to the different features and tools :

MEDIA

manage MEDIA of the project

COMPOSITIONS

display the different compositions of the project

TOOLS

access VIDEO ROUTING, AUDIO ROUTING, REELS, MARKERS, SUBTITLES and LOCATORS controls

METADATA

display assets and compositions' metadata

SETTINGS

manage the COMPOSITION SETTINGS : Output format, color management, overlays

CONSOLE

provides information related to Storage, GPU and video IO card performances. See section CONSOLE

Resizing the Command Panel

You can resize the Command Panel window horizontally and vertically:

  • Position the mouse cursor at the edge of the window and when it changes appearance click and slide up to your need.

Command

3.2.3. The Image Viewport

The Viewport layout and capabilities are detailed in the chapter VIEWPORT

3.2.4. The Timeline

The TimeLine behavior is detailed in the chapter TIMELINE.

3.3. Interface Basics

Whatever the module or sub-module you are in, the following interface displays can be met.

3.3.1. Cursors

ICE mouse cursor changes appearance if an action with the mouse is possible:

cursor

Cursor in normal mode

cursor

Possibility to move horizontally an interface element

cursor

Possibility to move vertically an interface element

cursor

Possibility to extend or resize and interface element

cursor

Cursor in move mode

cursor

Possibility to set an IN point (in the timeline)

cursor

Possibility to set an OUT point (in the timeline) or to extend a clip duration (from the last frame of the clip)

cursor

Cursor in trim mode

cursor

Indicates that the application is busy performing an operation

3.3.2. Contextual Menus

A contextual menu is a menu in a graphical user interface (GUI) that appears upon user interaction, such as a right-click. This menu offer a selected set of choices that are available in the current state, or context, of the application.

The Contextual Menus are accessible from every module of MIST, at the current mouse cursor location.

Calling a contextual menu when mouse cursor is located on a specific panel or interface element is not always possible. In that particular case, move the cursor to the nearest empty part of the user interface to be able to call the desired Menu.

ICE uses Drop-down Menus for contextual menus.

The drop-down menus give quick access to possible actions for the specific area the mouse is located.

UI

3.3.3. Warning Messages

Warning messages can appear in the different modules of ICE.

These messages interrupt the current work, in order to inform the user about a critical path.

Warning messages always require an action from the user : press [OK] to continue or ESC to cancel.

Warning messages

3.3.4. Keyboard Shortcuts - Help

A lot of keyboard shortcuts are available in ICE.

  • Press the keyboard H key to display the Shortcuts List available for the current Module (available from the Library module and the TimeLine module)

A recapitulation of the available Keyboards Shortcuts for MIST is available in Appendix Keyboard Shortcuts. Animation</a> panel

4. SYSTEM MODULE

The System Module allows the settings of different parameters for the system, and allows the management of the Projects.

4.1. User

In the User page you will find important information like

  • the current version of ICE

  • the type of ICE License installed

  • Computer and user name information

System

4.2. Projects

This is the page where you can manage and access all your projects.

System

Once the license has been installed, the software will always open by default on the Projects page.

4.2.1. Creating a New Project

To create a new project, type a name in the Name field and validate with CREATE:

System

The following characters are forbidden:
< (less than)
> (greater than)
: (colon)
" (double quote)
/ (forward slash)
\ (backslash)
| (vertical bar or pipe)
? (question mark)
* (asterisk)

4.2.2. Opening an existing Project

On the left column the list of all the projects is displayed.

On the right column you find the list of all the compositions saved for the selected project.

System

Select the project or the composition directly and click [OK].

A double-click on the project will open the last saved composition.

You can also sort the Projects and their Compositions by Date Created or Date Modified:

Click on the column title to sort the list.

Click again to toggle Ascendant/Descendant order.

You can filter the projects to display only Project names containing a certain text:

In the Filter field, type the desired text

4.2.3. Delete Projects

Click on the project to delete and press the [-] icon at the bottom of the page.

4.3. Licenses

This page recaps what options are included with the current License (if any).

4.4. System

In this page you can configure your system parameters.

Codecs

Set the decoding and encoding parameters for JPEG2000

Control Surface

Connect and setup an existing control surface.

Mastering Display

Setup the communication with the Reference Monitor.

Dolby

Setup the properties for Dolby Atmos and Dolby Vision.

4.4.1. Codecs

This tab allows you to set the parameters when working with JPEG2000. Depending on the performances of your workstation you can choose to use CPU or GPU power.

In CPU mode, you can also defines the maximum number of CPU threads engaged in the decoding process.

CPU encoding: the number of threads varies with the available shared memory.

4.4.2. Control Surface

When using a control panel, this is where you can connect and configure it.

The Tangent Devices panels are supported.

Select Tangent Tube from the drop-down menu.

Please be sure to have install the control panel’s drivers before.
Download it under "Marquise RAIN" from Tangent’s website.

4.4.3. Mastering Display

This tab allows you to configure the communication between your Reference monitor and the application: the ST-2086 metadata selected in the Mastering Display of the COMPOSITION SETTINGS can be automatically sent to the Reference monitor, allowing to configure it accordingly and avoid the operator to use the monitor’s manual menu.

The following monitors can be remote controlled:

  • Canon HDR 4K monitors

  • Eizo HDR 4K monitors

  • TVLogic HDR 4K monitors

Eizo CG-3145 PROMINENCE
open project

To physically establish the communication between a EIZO Prominence monitor and your workstation, you need to connect a USB cable between the USB downstream port of the PC and the USB upstream port of the monitor before launching the software. The USB hub function is set up automatically upon connection of the USB cable.

When the application is launched, it takes control of the settings of the EIZO monitor. Each time a composition is loaded, the selected mastering display parameters are communicated to the EIZO monitor, which is automatically configured accordingly.

A change of mastering display preset will refresh the monitor. The new parameters used are indicated temporarily on the monitor.

TVLogic LUM-310R

To establish the communication between a TVLogic LUM-310R monitor and your workstation:

open project
  1. Get a DB9 Female to RJ45 Male cable.

  2. Connect the cable from the RS-232 port of your computer to the RS-422 IN port of the TVLogic display.

  3. Open the .cfg file for your application in the directory C:\Users\$SessionName$\AppData\Roaming\Marquise Technologies\session.

  4. Add the following lines between <MTSessionConfig> and the </MTSessionConfig> tag:

<DisplayMonitorConfigList>
    <DisplayMonitorConfig id="tvlogic">
        <CommPort>COM1</CommPort>
        <DeviceId>1</DeviceId>
    </DisplayMonitorConfig>
</DisplayMonitorConfigList>

The CommPort number to indicate depends on the CommPort available on your system.

The DeviceId number must be the same as indicated in the monitor’s menu settings in the GPI tab / Monitor ID. Change one or the other accordingly. The default DeviceId is number 1.

Save the file before leaving.

4.4.4. Dolby

This sections defines the default settings for Dolby technologies.

Dolby Vision

Allows you to configure Dolby Vision settings.

CMU
CMU Type

Select if you want to use Dolby iCMU (internal CMU, aka Software CMU) or a Dolby eCMU (external CMU device).

See also CMU in the HDR chapter.

eCMU

If eCMU is selected, then enter the connection information between your workstation and the eCMU:

IP Address

Type the IP address of the connected eCMU.

Port number

Type the port number of the connected eCMU.

Device ID

Move the slider to change the device ID of the connected eCMU or double-click on the device number to edit it.

iCMU

To use the iCMU, you need a valid Dolby Vision license from Dolby Laboratories.

Once the license is installed and its validity checked, the Dolby Vision license information is displayed:

Start
Dolby Atmos

Defines a default rendering configuration for Dolby Atmos tracks: each new Atmos track will be created with this configuration.

Atmos

This setting can be modified in the Composition Settings at any time.

4.5. Plugins

This page displays the plugins (options) that are currently installed with your version of ICE.

4.6. Certificates

This page displays information about the digital certificate that has been automatically created for your ICE and where it is located. This certificate is used to create KDMs for ICE.

4.7. Info

This page displays information about the system that runs ICE, like number of processors used or the type of GPU.

SYSTEM

5. PROJECT SETTINGS

Project Settings are accessible from the Project Timeline.

To modify the Project settings, use the Media Project Settings icon in the menu bar of the TimeLine or press F1.

The Project Manager appears in a panel, composed of different tabs:

General

General information of the project (e.g. Production company, EIDR, ISAN etc)

Properties

Set the properties and type of the project.

Media

Manage the default media settings.

Video Output

Configure the video output settings of the Video I/O board (e.g. Bluefish444 or AJA).

Mastering Display

Setup the communication with the Reference Monitor.

User Interface

Set user interface preferences.

Control Surface

Connect and setup an existing control surface.

Misc

All the miscellaneous settings like the auto-save setting.

Dolby Vision

Setup the properties of the CMU device.

VTR Emulation

Configure settings to turn ICE in a virtual telecine.

Reports

Specify a default location when exporting the different Reports.

To leave the Project settings, click EXIT to go back to the TimeLine.

You can modify the Project settings at anytime. The settings chosen will not affect the project’s compositions, it will only assign defaults parameters to the new compositions created.

5.1. General Settings

For all projects, it is possible to enter additional information or metadata that can be used as reference information to identify a project:

Insert custom information like Production Company, Director’s name, etc.

Click on the edit field and type desired information.

5.2. Properties

In the Properties tab, set the default dimensions, frame rate or duration for all new compositions in the project.

Each new Composition of the project will be created with these parameters.

Properties tab

The settings of a particular composition can be modified at any time, see Composition Settings chapter.

Preset

There is is different output format available as presets:

Select the desired preset to set automatically the dimensions, the frame rates and the pixel aspect of the media.

Properties tab
Custom Output format

To define a custom format, select Custom in the Preset drop-down menu, and enter the desired format, frame rate and pixel aspect:

Dimensions

Dimensions

Click on the width digits to edit the text and enter the desired value.

Press tab to edit the height digits.

Finish with enter to save the new dimensions.

You can also change the dimensions by navigating in the cyan bar by dragging the slider one way or the other.

Frame rate

Choose if the project will be played in 24, 25, 29.97 or 30 frames per second. It is important to bear in mind the destination of the final result when setting the frame rate, as it will affect the playback speed.

Frame rate

Pixel Aspect

Select the desired aspect ratio of the Custom project size: 4/3, 16/9, or any other ratio from 1.00:1 to 4.00:1.

Pixel Aspect
Duration

By default, the composition duration is set on 24h.

To change the project composition duration, click on the edit field and enter the desired composition duration for the project.

Start

It is possible to set the beginning of the composition (the start) at a specific TimeCode.

By default, the Start is set on 00:00:00:00.

This setting affects the current composition only. To modify the Start TC for all new compositions in the project, see Default Start.

Channels

Choose if your project is a Stereo3D project or a normal 2D one. By default, the project is set in Normnal 2D.

Audio config

Allows you to choose a default audio configuration for all new compositions in the project.

Digital Intermediate settings

The following settings are useful only when working from film stock.

Film Stock

If you are working from film then select the stock type via the drop-down menu.

Film Type

Setting a Film type will define how the TimeLine is calculated in Feet + Frames (please refer to the chapter Changing the Timebase display).

Available film types are: 8mm and super 8mm, 16mm, 35mm (2, 3, 4 or 8 perforations) and 65mm (5, 8, 12 or 15 perforations).

Film Polarity

Click on the film polarity in use. The selected one is highlighted in cyan.

Printer Lights

Set the printer to obtain balance for color and density of the stock film. PL Point and PL 1/2 Point allow to refine the values more accurately.

5.3. Media

Media Directory

The Media Directory allows to define a default location for all media for this project.

Media

When you extract the essence of a DCP package, this is also where it is stored.

Preview Directory

Choose where to store the video thumbnails (media preview) automatically generated when a video content is referenced in a project. By default, htex are stored in the Project directory.

Default frame rate

Some image sequences (e.g. DPX) do not carry frame rate information. In such cases, it is necessary to define a frame rate for this content.

Choose a frame rate from the drop-down menu for your image sequence before importing media into the library.

Default start

Defines a composition start by default for each new timeline in the Project.

Snapshot Directory

Defines a directory to save the snapshots.

See also the chapter Snapshots.

Name Template

Modifies the default naming convention for the snapshots.

File Request
YES

a file saving window will appear to allow you to manually save the snapshot each time you take one:

snapshot
NO

uses defaults settings to automatically save the snapshots.

LUT

Applies automatically the LUT set for the Display or for the SDI output to your snapshot.

5.4. Video Output

In this panel, you can select the properties of the signal that you wish to output.

Once the workstation has been properly connected to a display device (i.e. A DCI compliant projector or a SDI reference monitor), you can setup the video output of your project to obtain the appropriate signal on your device.

Output

Resolutions displayed in the list are relative to the formats supported and delivered by the I/O card.

Basics drivers are installed with the application. The .msi file install the minimum configuration to run the video card. To access the video card proprietary tools, download the drivers from their manufacturer website. It is highly recommended to keep the drivers up to date.

The Video output setting in the Project only defines the output through the video IO card. There is no relation with the project / compositions output properties.

Audio Delay

The audio delay is used to read the audio ahead of the video in order to compensate the delay introduced by an external audio processing device (e.g. a Dolby E decoder).

The value represents the number of frames ahead of the video position from which audio is read during playback.

Output

Use the slider or double-clik on the value to set the desired audio delay in frames.

This option only affects playback, not rendering

5.5. User interface

Select your preferences for the user interface:

Color Wheel
Screen Layout

Allows you to display the User Interface on 1 or 2 monitors (Dual).
For now, only scopes can be placed on the second screen.

you must restart the software to apply this change.

Timeline Auto-Hide

automatically hides the Timeline during playback

Cursor Auto-Hide

automatically hides the mouse cursor during playback

Start play on Load

starts automatically the playback of the content loaded on the timeline.

Resume Play after Scrub

resumes the playback after a scrub of the playhead with the mouse.

Keep Clips after Drops

keeps the clips attached to the mouse when performing a Drag and Drop on the timeline. This is useful when adding the same clip several times on the timeline.

Color Wheel

Allows you to choose the orientation of your color-grading wheels

Default Keyframe

Selects the default Keyframe and interpolation settings based on your needs.

5.6. Control Surface

When using a control panel, this is where you can connect and configure it.

The Tangent Devices panels are supported.

Select the desired device from the drop-down menu.

Please be sure to have install the control panel’s drivers before.
Download "Marquise RAIN" from Tangent’s website.

5.7. Misc

Defines autosavings.

6. IMPORTING MEDIA

ICE allows to import a large variety of media:
flat files, packages like DCP, IMF or iTunes, image sequences, PDF and XML files in sidecar, EDLs, camera magazines, etc.

In ICE, media are managed in the Media tab of the Command Panel.

6.1. Media Tab

The Media tab is where the essences for a specific project are manually or automatically referenced from disks or a SAN.

The essences can be any type of video, audio, or subtitles files.

The Media Tab also permits the organization of the content for a project. From there assets can be selected to get loaded on the timeline.

The MEDIA tab is composed of 2 columns: on the left, the folder tree, and on the right the related content, like in a standard file browser interface.

To adjust the width of the columns use the vertical slider :

Command

6.1.1. Organizing the Project Media

Folders

You can create folders to organize the project media according to your needs.

to add a folder, position the mouse in the left column and right-click. Choose New from the drop-down menu:

Command

Alternatively you can use the icon "create new folder":

Command

when adding other folders at root level, make sure that the root project is selected (highlighted in blue) and not a folder.

to add a sub-folder, select the desired folder and right-click on it. Choose New from the drop-down menu:

Command

Alternatively you can use the icon "create new folder".

to delete a folder or a sub-folder, select the desired folder and right-click on it. Choose Delete from the drop-down menu.

to rename a folder or a sub-folder, select the desired folder and right-click on it. Choose Rename from the drop-down menu.

Moving media

You can rearrange the media in the folders once they have been imported in the Media bin:

Using the mouse, click on the media then lift it with a quick swipe of the left mouse button. This process is called Lift, Carry & Drop. The Clip will be attached to the mouse.

Select the new folder location:

Command

In the folder bin, use right-click and select Move Here:

Command

6.2. Import of Media

There is two ways for importing media for a project:

  • Drag & Drop from Windows file system

  • Import function using the internal smart file browser

6.2.1. Drag & Drop files from Windows' file system

Drag & Drop from Windows' file system allows you to easily import flat files, packages (DCP, IMF, iTunes, etc..), image sequences, compositions, sidecars files, etc.

Hit the Windows key or press + at the bottom right of the panel to display the Windows file browser.

Media

Select your files and drop them anywhere in the application’s window.

Once the media are properly referenced, they are displayed in the Media tab.

To import content into a specific folder of the project media, first select the desired folder prior to drag & drop the content.

Drag & Drop sequences

To import image sequences like DPX or TIFF drag & drop the first image of the sequence and the full sequence will be automatically imported.

Because there is no information about frame rates in DPX or TIFF images, first set the correct frame rate in the Properties of the Project.

Drag & Drop packages

The import of component-based packages like DCP, IMF or iTunes deliverables is also possible using drag & drop:

To import a package, drag & drop the entire package’s folder.

6.2.2. Import Panel

The Import panel is an internal smart file browser that has the capability of understanding complex media files and packages.

The IMPORT function is only possible for DCP or IMf packages, as well as specific XML or metadata files, camera magazines or entire directories.

Access import from the Media tab

position the mouse in the left column and right-click. Choose Import from the drop-down menu:

Media

Alternatively double-click on an empty area of the left column

To import content into a specific folder of the project media, first select the desired folder prior to import the content.

Access from the IMPORT button

Click on the IMPORT button on the menu bar to display the Import panel.

Import
Import panel

The Import panel is composed of 2 areas:

The left column, used for quickly navigating through the physical files volumes the system is connected to.
Bookmarks and Aliases are also displayed there.

The folder tree column, showing folders' organization within a volume.

When a package like a DCP or an IMF is selected, the CPLs and the important metadata of the package are automatically displayed :

Media

In order to ease the navigation, you can display only a specific file type.

Click on the file type to open the drop-down menu:

Import

Select the desired type of file from the list:

Import

Validate the import using OK.

6.2.3. Delete Media

To delete a media, select the desired clip and press *- at the bottom right of the Command Panel.

Alternatively, when the clip is selected, you can . Choose Delete from the drop-down menu.

Deleting a media in the Media tab will remove it from the Project media bin and will not physically delete the file.

6.2.4. Import of Directory

It is possible to import an entire directory in the project media bin: the source directory organization with the folders and subfolers and their related files is reproduced in the media bin.

This functionality is particulary useful when importing complex folder’s organisation like a camera magazine or DPX sequences organised in reels.

To import a Directory, position the mouse in the left column and press mouse’s right button. Choose Import Directory from the drop-down menu:

Media

Navigate in the file browser to the desired directory, and validate the import using OK.

6.2.5. Media views

The operator can display the media assets using different views :

  • Thumbnails

  • List details

  • List tiles

Click on the View icons on the upper right of the Command Panel to change the views:

Media

6.2.6. Encrypted content

When importing an encrypted DCP, the assets are displayed with a closed lock and the media preview is black:

Media

After importing the KDM (See Import Encrypted DCP), the locks are open and the media preview is enabled.

Media

6.3. Relink Media

When a media referenced in a project has been moved from its original physical location, the application cannot access it and it is no longer possible to work with it.

In this case, a warning is displayed on the clip:

Media

It is then necessary to proceed to a manual relink of the path to the files.

  1. right-click on the clip in the Media tab to display the drop-down menu.

  2. Browse the file system to the new location of the file

  3. Click OK to validate

Your media is now relinked.

6.4. Operations from the Media tab

6.4.1. Direct PlayBack

A double click on a media will automatically load the content on the timeline.

To start automatically the playback of the content loaded on the timeline, enables the option Start play on Load in the Project Settings, User interface.

To load manually the media on the timeline, refers to section Adding clips to a composition.

to start the playback of an IMF or DCP package, see the Composition tab information on next chapter.

6.4.2. Menu Options

When performing a right-click on a clip in the Media bin you access the Clip menu offering several options:

Load as Composition

Load the clip on the timeline in a new Composition

Load as Source

Load the clip in the Source Viewport

Delete

Delete the clip from the project media bin

Relink

To relink a media

Rename

Rename the file as it appears in the media bin. Does not affect the name of the original file.

Open System Location

Opens the Windows’s file browser to the physical location of the media

Select All

Select all the clips in the current directory

Deselect All

Deselect all the clips in the current directory

Validate…​

Opens the Validation panel. See Master Validation.

Save Media Info report

Create a media info report in PDF and XML as well as in EBUCore XML.

6.5. Compositions Tab

This tab displays all the compositions available in the project, whatever their type is: CPLs of an IMF or a DCP package as well as project’s compositions.

6.5.1. Temporary Compositions

By default, when a media imported in the Media bin is played directly, a Temporary composition is automatically created.

Composition

This composition will be replaced by a new temporary composition if another media is chosen to be played, unless it is manually saved.

To save a temporary Composition, right-click on it and enter a name in the text field:

Composition

6.5.2. Project Compositions

All the compositions saved for a project are accessible from this tab:

Composition

6.5.3. CPLs

When importing a DCP or an IMF package, CPLs are listed as compositions:

Composition

6.5.4. Sidecar assets

When a package contains SideCar files, they are displayed in the list Sidecar Assets.

To open a SideCar asset double click on it. If Windows system recognizes the file type, the associated application will be automatically launched.

6.5.5. Processing Graphs

OPLs present in an IMF package are listed under the Processing Graphs list.

6.5.6. Playback of the Composition

A double click on a Composition will automatically load all the assets referenced in the composition on the timeline.

6.5.7. Toggle compositions in the project

When a project contains several compositions, you can quickly toggle from one to another:

To toggle between compositions, double click on the desired one: the timeline automatically switches compositions.

6.5.8. Adjust columns

You can modify the length of the columns for the list of composition. Position the mouse until the cursor changes appearance next to the column you want to modify and slide:

Composition

Read more on Compositions

6.6. Media Inspection

The Metadata Tab of the Command Panel allows the inspection of the metadata embedded in a file: COMPOSITION, CLIP, STATIC and DYNAMIC metadata.

Metadata
COMPOSITION

settings of the composition

CLIP

thechnical metada of the clip

STATIC

technical or descriptive metadata valid for the entire clip

DYNAMIC

technical or descriptive metadata valid for a frame or a scene.

The metadata displayed are those of the file loaded on the timeline. When multiple files are present, the metadata are displayed for the content on the active layers at the playhead location.

To inspect the metadata of a clip in the media tab, without modifying the current composition on the timeline, you can load it in the Source Viewport.

6.7. Media Metadata Exports

It is possible to export the metadata of a media file.

Right-click on a media in the Control Panel / MEDIA tab and choose Save Media Info report from the drop down menu to open the Media Metadata Export windows.

In the file type, select the desired Metadata export:

Metadata
EBUCore XML

exports the media metadata in XML following EBUCore specification

Media Report

exports a Media Report in PDF or XML format

Add a name for the file and browse the file system to the desired location and validate with OK

The Media Metadata Export windows can also be accessed from the timeline:

Right-click on the desired clip on the timeline and choose Save…​ from the drop down menu:

Metadata

7. VIEWPORT

The Viewport is the part of the workspace where the image is displayed.

On opening of a project, the Viewport is reduced but you can enlarge it by closing the Command Panel or minimizing the timeline.

7.1. Navigate / Pan

To easily navigate in any area of the image, use the pan navigation:

Alt + click and maintain left mouse button pressed to move the image in every possible direction.

pan

Press C to center the image in the Viewport.

7.2. Zoom

To zoom in a specific part of the image:

Scroll middle mouse button down to zoom IN, and scroll up to zoom OUT.

zoom

7.2.1. Resume Zoom factor

Use F to resume the zoom factor and display the image in a 1:1 pixel.

7.3. Viewport Options

7.3.1. From the GUI

Some controls for the Viewport are directly accessible from the GUI (in addition to keyboard shortcuts).

TimeLine

R

Show / hide Red channel

G

Show / hide Green channel

B

Show / hide Blue channel

A

Show / hide Alpha channel

M

Show / hide Mask

O

Show / hide Original image

Z

Show / hide Zebra mode

D

Show / hide Dynamic Tone Mapping

F

Lock Fit Viewport

G

Gang the 2 Viewports

C

Comparator

Dual

Show / Hide Dual Viewport

Lock

Lock Viewports playback together

7.3.2. Guides

Display guide lines on the Image Viewport:

Camera

Alt+C to show camera borders (project format)

Axis

Alt+A to display the Viewport axis

Safe Frames

Alt+F to show Action and Title safe areas according to the Active Area chosen.

Active Area

Alt+B to display the borders of the frame as per the frame aspect chosen in the Active Area tab.

7.3.3. Working Full Screen

To hide / show the timeline, use Page down and Page up keys.

7.4. Snapshots

It is possible to capture a snapshot of the content displayed in the viewport.

to capture a snapshot, press Ctrl+F12.

Settings for the snapshots are located in the Media section of the Project.

It is possible to define automatically the naming convention for your snapshots as well as the directory to save them, or to opt for a manual saving.

You can also add the LUT defined for the GUI or the SDI output.

7.5. Transport Controls

The commands for the Transport controls are the following:

TimeLine

1

Composition Start time

2

Mark IN point

3

Go back to first frame

4

Go back last key frame

5

Go back next frame

6

Play backward

7

Time Code at current frame / PlayHead position

8

Play / Stop

9

Go to next frame

10

Go to next key frame

11

Go to last frame

12

Mark OUT point

13

Composition End time

14

Playback Mode

7.6. Dual Viewport

The Dual Viewport allows you to display simultaneously two video tracks for comparison purposes. The two Viewports can also be synchronized together, for an accurate frame matching.

7.6.1. Adding media on the Dual Viewport

To open the Dual Viewport, click on DUAL on the TimeLine or use the shortcut Alt+X:

Dual Viewport

The Record Viewport (right) is for the Composition, and the Source Viewport (left) is used by the source media.

Select the source media from the Command Panel and press Ctrl + double mouse click: it will automatically be placed in the Source Viewport.

Alternatively, you can right-click on a media and choose Load in Source to directly open it in the Source Viewport.

From the Compositions list in the Command Panel you can also use right clik on a composition to choose Load in Source Viewport.

All kind of file formats can be loaded in the source viewport, including IMF and DCP packages.

To toggle from one Viewport to the other, click on the desired Viewport. The timeline displayed is the one for the Vewport outlined in grey (active viewport).

You can also switch from one to the other with the X shortcut.

The navigation management tools in the Viewport remain the same as for Single Viewport on the selected Viewport. Refer to chapter Viewport Manipulations .

7.6.2. Frame matching

It is possible to synchronize the timeline of the source with the one of the composition to do frame matching.

Select the viewport you want to use as the reference image, position the PlayHead on the desired location and click LOCK or press the G key.

Automatically, the second timeline will place and lock the PlayHead position at the same image number. You can also playback both timelines at the same time.

The frame matching depends on the duration of the two timelines. If one is shorter than the other, the last selected image of the shortest timeline will remain frozen.

7.6.3. Zoom & Pan Gang

You can gang the 2 Viewports to navigate and zoom in the image of the 2 versions in sync. This is ideal for a close inspection of 2 different versions of the same content.

Once the media are loaded on both viewport, click the Gang Icon (G).

7.7. Dual Video Output

It is possible to output simultaneously 2 video streams, up to 4K 60p each, using the video IO board.

The Video Routing matrix allows you to manage which viewport is outputted to which video channel.

Access the Video Routing in the Command Panel / Tools

TimeLine

For each video channel output capability, you can choose to display either the source viewport or the **record viewport

Use the dropdown menu of the last column for managing Stereo 3D content and select which eye to display, with or without Tone Mapping applied.

TimeLine

Possible video output mappings:

TimeLine

Refer to section Video Output capabilities for more information on the supported devices.

7.7.1. PlayBack & Speed information

The user interface displays playback information. It is also possible to change the playback speed on the fly.

TimeLine

8. THE TIMELINE

The TimeLine is the core feature of ICE.

From the TimeLine, you have access to a variety of tools allowing to play and QC any type of content.

In this chapter you will learn the following:

  • Basics for the timeline

  • How to create new compositions

  • How to add clips to the compositions

  • How to load and save compositions

  • How to use the Event Viewer

8.1. Definitions

Below you will have an overview of the vocabulary frequently used in the Timeline section :

Project

A project is a structure that is made of several compositions.

Composition

A composition is a structure made of different sorts of media assets: video, audio and timed text (e.g. close captions or subtitles). The metadata associated to the assets are also part of the composition.
It is also definite by a format (width, height, bitdepth, frame rate, sample rate, etc) and a duration.
In addition other composition properties exist such as a marking zone, markers, PlayHeads, etc to help the editing process. Each sort of media is organized into layers: the video layers (located in the video layer stack) and the audio layers (located in the audio layer stack).
Editing of video layers and audio layers can be done separately or jointly.
Layers are composited together in their category (video layers together, audio layers together).
The result of a composition is a video stream and one or more audio streams (one for mono, two for stereo, etc). The rendering of a composition generates a new clip.

Layer

A layer is a placeholder for tracks. The number of tracks depends on the layer category, audio, video or other.

Audio Layer

An audio layer is made of one or several tracks, depending on the audio configuration. The audio configuration specifies the number of audible tracks, usually assigned to individual speakers in a spatial configuration. The following soundfields among others are supported: Mono, Stereo, 5.1, 6.1, 7.1.

Track

A track is a placeholder for segments. Segments can be moved within the track, trimmed, slid (Slide operation) or slipped (Slip operation).

Segment

A segment is a basic unit of editing. It defines the start and end of a media source (audio, video or subtitles) in time. Transitions (video or audio) are special segments that do not represent any media source but rather blend two other segments (audio and audio or video and video).

8.2. Timeline Basics

The Timeline itself is composed of several parts:

TimeLine

1

TimeLine Background

2

Layers Control Box

3

Layers

4

Composition Timescale

5

TimeLine Controls

6

Transport Controls

7

Slider

8.2.1. TimeLine Controls

Some controls for the timeline are directly accessible from the GUI (in addition to keyboard shortcuts).

Editing controls
TimeLine

Media

COMMAND

Show / Hide the Command Panel

TimeLine

REPLACE

Toggle Replace / Insert modes for clips

TimeLine

SNAP

Snap clip to PlayHead or cuts

V+

Add a video track

A+

Add an audio track

S+

Add a subtitle track

X+

Add an auxiliary track

Undo / Redo

Undo and Redo are also in direct access on the timeline:

TimeLine

8.2.2. Navigating the Timeline

Depending on the length of the composition, you may need to navigate through the composition back and forth, or change the display scale to reveal more or less of it.

Moving around in the Timeline

To move around the timeline without changing the PlayHead position, is done by using the keyboard and mouse. The following procedure explains how to move the timeline to the left or to the right to reveal the parts that could not be displayed on screen:

Press Alt on the keyboard and using the mouse, click the left button and drag the mouse while keeping the left button pressed.

The timeline will be shifted to the left or to the right, revealing the hidden regions.

Zooming the Timeline

You can display the complete timeline or a detailed part of it without changing PlayHead position by zooming in or out the timeline:

To zoom IN our OUT use the hotkeys Ctrl++ / Ctrl+-.

Alternatively press the buttons Z+ and Z-.

TimeLine

You can also automatically fit the composition in the timeline:

To fit the composition in the timeline, use Ctrl+Shift+F or press the FIT button.

Using the PlayHead

This vertical yellow line indicates where in the timescale the current frame is located. It is also referred as “TimeMarker”.

To center the PlayHead in the TimeLine, use the Ctrl+Shift+C.

To highlight interesting times (cuts, markers, locators, etc), scrub the PlayHead back and forth with the Snap mode activated: the PlayHead will stop arriving at any interesting time of any track. Scrubbing full speed in Snap mode does not make the PlayHead to stop.

To navigate through interesting times ONLY, click Ctrl while scrubbing the PlayHead.

To slow down scrubbing capabilities, in order to navigate more easily when there is a lot of interesting times near the PlayHead, click Alt while scrubbing. This will force the PlayHead to move twice slower than normal and allow a better positioning.

TimeLine Navigation Shortcuts

To navigate more easily in the timeline some PlayHead shortcuts are available and detailed in the appendix Shortcuts.

8.2.3. TimeLine Configuration

The TimeLine can be configured to serve your needs depending on the projects you are working on. Possible configurations include:

  • Changing the Timebase

  • Modifying the Layers appearance and manipulating them

  • Manage Layers and create new ones

Changing the Timebase display

The Timebase (or timescale) is by default in timecode mode.

It can be modified to display other time codes or frame information.

The Timeline can be displayed in the following modes:

Normal time Code

Feet + Frame

Frame Number

You can toggle the Timebase displays using Alt+T.

Timebase display in Time Code:

TimeLine

Timebase display in Feet + Frame:

TimeLine

Timebase display in Frame Number:

TimeLine
Modifying Layers appearance

The layer appearance can be modified to better display the tracks information if needed.

The TimeLine part can be expanded to display more layers:

To expand or collapse TimeLine, place the cursor on the top of the time line until it changes appearance and lift up or down.

TimeLine

To navigate in the different layers, use the Scroll Bar on the right of the Timeline.

To select several layers, press Ctrl + click and pick the desired layers.

To select all the layers, press Ctrl+A.

To deselect all the layers, press Ctrl+D.

In the user interface the tracks are separated by a "split". It can be moved up and down to reveal more or less of one of the stacks.

TimeLine

This action reveals additional information like the image resolution for the video layer, or the audio channel number for an audio layer.

  • To resize all the layers altogether, select the layers on the Control Box on the left of the TimeLine using Ctrl + click, keep Ctrl pressed and scroll up or down the mouse reel.

TimeLine
Managing Layers

Some managing operations are available for each type of layer.

To display the drop down menu for the layers, position the mouse on the Layers Control Box, select the Layer you want to modify and press right-click.

TimeLine
Rename

Allows to rename the layer.

Insert

Insert a layer right above.

Merge Stereo 3D

Allows to merge left and right eyes in one track.

Delete

Delete the current layer. Deleting a track removes all clip instances on the track but does not affect source clips available in the library.

Lock

Lock the current layer.

Move Up/Down

Allows to reorder your tracks by moving them up or down.

Select Clips

Selects all the clips in the track chosen.

Split

You can split your audio configuration to mono or stereo tracks

Layers Manipulation

An important notion when manipulating the Timeline layers is the “Active” layer. This is especially important when editing the clips.

Active layers are labelled in blue:

Layers

In order to quickly manipulate the layers, you can use the Timeline Hot Box.

Place the mouse cursor on the TimeLine background and press Ctrl + right-click to display the Hot Box for the TimeLine ans select LAYER:

Layers

The Hot box provides you with short cuts to select or deselect the different type of layers.

The Layer Control Box also displays important icons:

ok

Indicates that the layer is enabled. To change layer status to disabled, click on the icon.

no

Indicates that the layer is disabled. To change layer status to enabled, click on the icon.

lock

Shortcut to lock the layer. Icon turns red when activated.

Create new Layers

At any time you can add additional layers to the composition. Layers can be added according to their type, video, audio, etc..

Layers
V+

Insert a Video layer on top of all others

A+

Add an audio layer at the bottom of all others

S+

Add a timed text layer (for subtitles or closed captioning) on top of the video layers.

X+

Add an auxiliary track at the bottom of the audio layers. Auxiliary tracks are used to display special metadata tracks like Dolby Atmos, DBox, etc…

About Auxiliary Tracks

Click X+, to display a drop-down menu and chose the appropriate auxiliary track:

Layers

HDR Dynamic Metadata

Dolby Vision Metadata v2.9

use this type for adding a Dolby Vision 2.9 Metadata ISXD track

Dolby Vision Metadata v4.0

use this type for adding a Dolby Vision 4.0 Metadata ISXD track

Dolby Vision Metadata v5.0

use this type for adding a Dolby Vision 5.0 Metadata ISXD track

Immersive Audio

Dolby Atmos Cinema

use this type for adding an Atmos track for a DCP package (see DCP with Dolby Atmos)

DTS-X Cinema v1/v2

use one of these types for adding a DTS-X Cinema immersive audio track for a DCP package. (see DCP with DTS-x)

Composite Immersive Audio

use this type for adding an immersive audio metadata like Dolby Atmos as IAB track for an IMF package.

8.3. Compositions

Assembling a program from multiple clips is done in a composition. By default every project has a default composition, called “Temporary”. However in a real world project, it is necessary to create multiple compositions for various needs, such as various edits of the same program, etc.

A composition is a structure made of different sorts of media assets: video, audio and timed text (e.g. close captions or subtitles). The metadata associated to the assets are also part of the composition.
It is also definite by a format (width, height, bitdepth, frame rate, sample rate, etc) and a duration.
In addition other composition properties exist such as a marking zone, markers, PlayHeads, etc to help the editing process. Each sort of media is organized into layers: the video layers (located in the video layer stack) and the audio layers (located in the audio layer stack).
Editing of video layers and audio layers can be done separately or jointly.
Layers are composited together in their category (video layers together, audio layers together).
The result of a composition is a video stream and one or more audio streams (one for mono, two for stereo, etc). The rendering of a composition generates a new clip.

In this section, you will learned the following:

  • Adjusting a composition’s duration

  • Managing (Saving, loading) compositions

  • The Composition settings

8.3.1. Composition duration

Composition duration is displayed in light grey over the timescale:

Composition

By default, the composition is set on 24h.

The duration of the composition can be adjusted by a simple move (left mouse click and drag) of the small handles at each end of the line.

To auto adjust the composition duration to the clips on the timeline, press Alt+Ctrl+F.

The Composition can also be manually adjusted by typing values for the beginning and the end of the composition:

Click in the Composition Start and / or End in the Shuttle Bar, and type desired values.

Composition

The composition is automatically updated with the new duration.

In order to quickly fit the composition, you can also use the Timeline Hot Box:

Press Ctrl + right-click on the Timeline itself to display the TimeLine Hot Box and select COMPOSITION. The Hotbox provides you with short cuts to fit the different type of layers of the composition.

Composition

The duration of the composition affects the playback: if part of a media is outside the composition, it will not be played.

If you drag & drop an IMF or a DCP package containing multiple CPLs, ICE will automatically creates the compositions for each of the CPLs.

8.3.2. Composition Management

A project can contain an unlimited number of compositions, each of them with a different output format, frame rate or image resolution.

Compositions are reflecting the content of a Timeline.

To manage a composition, from the Command Panel / Compositions, select one and use right-click to display the drop-down menu:

Composition
Load in Record

Load this Composition in the Record Viewport

Load in Source

Load this Composition in the Source Viewport

New

Create a new composition, with an empty timeline. By default it’s named "NewComposition"

Delete

Delete a composition. This action only deletes a Composition from within the software project and has not effect on a phyical content’s CPL.

Duplicate

Duplicate the entire composition in a new one. Assets and Settings are all duplicated. The new composition has the same name with "copy" at the end.

Duplicate as…​

Quick Composition conversion

Rename

Allows to rename a Composition. Enter the name in the field and validate using Enter.

Validate

Opens the Master Validation panel if a Compliance Test Plan is available for this master.

Photon

Only visible in the case of an IMF composition. Opens the Photon validation panel.

When you load a composition, the clips may appear in red for a short time, the time needed to renew the links. In general, except for a graphical subtitle track (e.g. PNG files), the names of the clips are red when there is no associated media:

Composition

It is then necessary to either Relink or Conform the media.

Create a new composition

To create a new composition in an empty timeline, use Ctrl+N.

Save a composition

The compositions are automatically saved when you leave the project.

to manually save a composition, use Ctrl+S.

Convert / Duplicate a Composition

It is possible to quickly convert a composition with another resolution and frame rate.

Right-click on the desired composition and chose Duplicate as…​ from the drop down menu:

Composition

Create your custom composition format or use the Format drop-down menu to choose a composition preset:

Composition

To simply copy the composition in a new timeline, use Duplicate from the drop down menu.

8.3.3. Composition Settings

Access the Composition Settings

Composition Settings are accessible from the Command Panel:

Composition

In the Composition settings, you will find different kind of settings, presented in tabs:

GENERAL

defines the name, the type and the mode of your composition.

FORMAT

defines the way the media is outputted

CMS

Color Management System. This parameter sets the composition either in the native color space of the video clips on the timeline, or switch the composition in ACES color space.

DISPLAYS

defines mastering display and Target Displays.

OVERLAYS

defines blanking information and image burn-ins

All the parameters of this panel will apply to the current Composition. Loading a new empty TimeLine will restore default project settings.

General settings
Composition
Name

Name of the composition. Edit it with a click on the text field.

Type

Choose the type of your composition. "Compositing" is set by default for new projects.
When importing a DCP or IMF original version package, the versioning mode is then automatically set. This mode will affect the way content is presented:

Composition
Mode

This parameter set the composition in 3D STEREO or in normal 2D mode. In 3D STEREO mode, you can also chose the priority of the left and right eyes. More information about 3D mode is available in the 3D STEREO guide.

Priority

Enabled when in 3D Stereo mode.
LEFT/RIGHT : When you create a new track it will be the left eye and the new/upper track will be the right eye.

Film Type

Setting a Film type will define how the TimeLine is calculated in Feet+Frames (see section TimeLine in the Player chapter).
Available film types are: 8mm and super 8mm, 16mm, 35mm (2, 3, 4 or 8 perforations) and 65mm (5, 8, 12 or 15 perforations).

EIDR and ISAN levels

Enter EIDR and ISAN identifyers here. The 3 different levels ID are supported.

Ad-ID & Clearcast

Enter Ad-ID identifier and Clearcast number here.

EIDR, ISAN, Ad-ID and Clearcast information entered here will be embedded in the content’s metadata.

Format
Composition
Format Preset

Select the desired output preset in the drop down list:

Composition

When chosing a different image resolution, in order to fit the picture in the expected output canvas and therefore avoid any undesired crop, use the Pan and Scan function.

Format Custom

Choosing Custom in the preset list allows you to manually set the output:

Composition
Dimensions

Use the slider or click on the digits to edit the text and enter the desired value.

Aspect

The aspect ratio of the canvas is automatically calculated based on the dimensions.

Frame rate

Choose if the composition will be played from 14 up to 72 frames per second. this setting will affect the playback speed. For more information refer to the TimeCode section of this manual.

Pixel Aspect

For anamorphic content: select the desired aspect ratio of the pixel.

Active Area Aspect

select the active image area ratio from the drop down menu thus to exclude letter and pillar boxing from any processing or analysis.

  • To see the active image area on the viewport, press Alt+B to display a green border frame.

Blanking

Burn in blankings (letterhead and pillar boxing). Blankings are not affected by color or contrast corrections.

Opacity

Choose more or less opacity for the blankings: double-clik on the value to edit it or use the slider.

Safe Area Aspect

Select the safe area aspect to display.

Safe Action and Title

Define the percentage of tolerance for safe action and safe title in relation with the chosen safe area aspect. Double-clik on the value to edit it or use the slider.

Press Alt+F to display Safe frame on the Viewport.

CMS
Composition

This tab is dedicated to the choice of a Color Management System for your current composition. For more information, please read carefully the Color Management System chapter.

Displays
Composition

The Display tab allows you to define a Mastering Display or a Target Display for your content.

This is also the place to manage the display’s LUTs.

For more informations, please read carefully the Mastering Display chapter.

Overlays

You can use Overlays to burn some metadata on the image Timecode, file name, and camera metadata.

Overlays work using text and metadata that you can modify to create burn-ins with a variety of styles.

Add a custom text Overlay

Click on + to add a new overlay. By default the tag "text" appears on the list.

Composition

Select the overlay on the list to edit it:

Composition

To modify the text, click in the editing text field:

Composition

and validate with enter.

You can style the text using the Rich Text Markup specification.

Add a Metadata Overlay

Some important metadata are directly available using metadata tags.

To add one, select the overlay in the list and click on +tag icon:

Composition

and select a metadata in the drop-down menu:

Composition

You can add several metadata tags for each overlay:

Composition

and mix custom text with metadata:

Composition
Modifying overlay positioning

The positioning of overlays in the image are defined by offsets to vertical and horizontal positioning.

Composition

Use the text alignment icons and the X and Y axis to position the overlays at the desired place.

Text Horizontal positioning:

Composition

Text Vertical positioning:

Composition
Saving Overlay templates

To save overlays settings as a template, click EXPORT on the timeline menu and select in File Type "Marquise Technologies Overlays Template":

Composition

Select a location to save the template (by default it will be saved in the temporary folder of the User).

To upload a saved Overlay template, click IMPORT on the timeline menu and browse the file system. You can use the File Type info to narrow the search.

To display an Overlays Template in the Overlays Template drop-down menu, it must be saved in the Software installation directory folder C:\Program Files\Marquise Technologies\$software_version$\resources\templates\overlays :

Composition

Click on Templates to open the drop down-menu and select a template:

Composition

A list of overlays for this template is displayed.

Click on the desired overlay to modify it.

8.4. Clips

In ICE, a clip is the visual representation of any type of asset : video, audio, subtitle or metadata file.

Depending on the assets, like audio tracks for example, the way they are added on the Composition timeline is important.

8.4.1. Adding manually clips to a Composition

Once you have dropped your media in the Media tab of the Command Panel (see Media Tab, you can start adding the clips on the Timeline.

There are several ways to add clips to a composition and they all depend on the context. Some methods will be more appropriate than others in some particular cases.

Sequential Paste

This is the easiest method to manually drop some clips in the timeline.

The clips will be placed in the timeline automatically at the playhead position, one after the other, in the order you have selected them in the Media tab.

  1. Select the clip in the Media tab of the Commad Panel (clip turns in grey when selected)

  2. Using the mouse, click on the thumbnail then lift it with a quick swipe with the left mouse button. This process is called Lift, Carry & Drop.

The Clip will be attached to the mouse:

Media tab

To import several clips, select them in the Media tab in the order you want them on the TimeLine using Ctrl + Left mouse button then click on any thumbnail and lift them with a quick swipe of the left mouse button:

Media tab

Once the clip(s) is/are attached to the mouse, type Ctrl+V to drop the clip(s) on the timeline.

The clips will position themselves on the layers, at the playhead position.

The Timeline must be configured with the right number of audio tracks prior to the import. This can be configured either from the Project properties, or by adding manually additional layers (press A+ or S+ for example).

Too keep the clip(s) attached to the mouse for pasting them again, choose the option Keep Clips after Drop in the Project Settings / User Interface. When this option is enabled, press Esc to free the mouse.

Stacked Paste

In Stacked Paste mode, the clips will be placed in the timeline in pile, one below each other, starting from the playhead location.

Select the clips in the Media tab as mentioned above

Once the clip(s) is/are attached to the mouse, press Ctrl+Alt+V to drop the clip(s) on the timeline.

Press Esc to free the mouse.

Extended Pasting

When none of the above methods is convenient, extended paste functions are available.

With the clip(s) attached to the mouse, right-click on an empty area of the timeline to display the dropdown menu:

TimeLine

This action opens the Paste Extended tool box:

TimeLine

Select the desired paste mode with the drop down menu to be applied either on the current layer or on a new one.

The various paste methods include:

By Source TC

will place the clips at specific places in the composition, according to their source timecode.

By Increasing Source TC

will place the clips one after each other but sorted by their source timecode.

Alphanumeric order

will drop the clips one after each other sorted by their name in the increasing alphabetical order.

Reverse Alphanumeric order

will drop the clips one after each other sorted by their name in the reverse alphabetical order.

Clip and composition frame rate

After the import, if your clip appears in red on the TimeLine, it means that your composition settings have not the same frame rate than your clip:

Clip

To modify them, go to the Composition settings in the Control Panel and change them manually, or

Right-click on the clip itself to display the Clip Operations drop down menu :

Clip

Choose Set Composition Format to automatically adapt the composition settings to the clip properties.

8.4.2. Selecting clips

To select a clip on the track, click on it. Clip will change color to light grey.

To select several clips, use Ctrl + click on each of them.

To select all the clips, start to select one clip then use Ctrl+A.

To deselect clip(s), use Ctrl+D.

To select a range of clips, position the mouse on the track next to a clip you would like to enclose and press Shift + left mouse button and drag the mouse over the desired clips. The covered range is bordered in blue.

Clip

Alternatively you can use the TimeLine Hot Box to quickly manipulate the clips:

Clip

8.4.3. Removing clips

You can remove an entire clip or a range of frames from the composition using several methods :

Delete clips

Select the clip(s) you need to delete and press Delete.

Delete Ripple

This deleting mode allows to delete a clip without leaving a gap in the Timeline.

Select the clip(s), and press Backspace on the keyboard.

Lifting clips or a range of frames

Lifting is the process of removing one or more clips or a range of frames from the composition. The range of the composition to be lifted is defined by the mark in/out range. When lifted, the marked range leaves a gap of the same duration as the mark in/out range.

In order to remove a portion of the composition using the Lift operation, you need first to mark the range using the Mark In/Out tool :

clip

to remove a marked region, on the TimeLine background to display the Composition drop-down menu and select Clear Marked Range or Clear Mark :

clip

Alternatively you can use the shortcuts Alt+I and Alt+O to set / remove the marked range.

Once the region is marked, to perform the lift you can:

press Ctrl+L or

display the Composition drop-down menu using right-click on the TimeLine background and select Lift Marked Range.

clip

Timeline after a LIFT operation:

clip

This operation occurs on the active layers only.

Extracting clips or a range of frames

Extracting clips is a process similar to Lift, however there is no gap left by the removed marked range. The remaining clip parts or full clips that were on the right of the mark Out point are moved backwards to the left to fill the gap (also called ripple deletion).

To Extract a clip or a range of frames you must first mark a range and then :

press Ctrl+E or

display the Composition drop-down menu using right-click on the TimeLine background and select Extract Marked Range.

clip

Timeline after an EXTRACT operation:

clip

This operation occurs on the active layers only.

8.5. Markers

Markers define regions of a composition that have a specific meaning.

Typical information located by Markers are for example First frame of Credit, or Commercial break.

To access the Markers panel, click on TOOLS in the Command Panel:

markers

8.5.1. Adding markers

To Add a Marker, position the Playhead on the desired timecode and in the Markers panel select a color and click +. The Marker is set for a default duration of 1 sec.

markers

To mark a range, first define your range and in the Market panel click +.

To delete a Marker, select it in the Markers' list and click -.

Markers are represented in the TimeLine by colored triangles and positioned in the Marker’s track:

markers

8.5.2. Navigating through Markers

You can navigate from Marker to Marker using different options:

Double click on a time code in the Markers list for the PlayHead to jump directly to the related frame in the TimeLine.

Use shortcuts Shift+U for Next Marker and Alt+U for Previous Marker

Additionally, when the PlayHead is positioned on a particular Marker, it is highlighted in the Marker’s list.

8.5.3. Editing a marker

SMPTE markers labels are supported. To add some, select the desired Marker in the list and click on Default on the Type column.

This action display the Markers drop down menu.

markers

You can also add custom comments.

Select the desired Marker in the list and click on Default on the Comments column and add your custom text:

markers

8.5.4. Moving Markers

You can move or change the duration of a marker directly in the timeline:

Position the mouse on the IN or OUT point of the marker until the cursor shows markers and move the marker to the new position.

8.5.5. Exporting / Importing Markers

Save Markers

It is possible to export the markers information in XML:

Click on EXPORT at the bottom of the TimeLine and choose Markers in the File Type drop-down menu:

markers

Choose a location for your file and enter a name.

Validate with OK.

Import Markers

To import a Markers file, click on the IMPORT at the bottom of the TimeLine and choose Markers in the File Type drop-down menu.

Browse the folder tree on your left, select the file and click OK.

Only Markers created using ICE or MIST can be loaded. If you want to import an external file, you can use the Locators.

8.6. Locators

If they are similar to the Markers, Locators are only used for custom comments.

To access the Locators panel, click TOOLS in the Command Panel:

Locators

Locators are represented in the TimeLine by colored squares ans positioned on the Locators' track:

Locators

8.6.1. Adding Locators

To Add a Locator, position the Playhead on the desired timecode and in the Locators panel select a color and click +.

To delete a Locator, select it in the Locators' list and click -.

You can create several Locators at the same timecode, however on the TimeLine only the last Locator entered will be displayed.

8.6.2. Navigating through Locators

You can navigate from Locator to Locator using different options:

Double click on a time code in the Locators list for the PlayHead to jump directly to the related frame in the TimeLine.

Use shortcuts P for Next Locator and Alt+P for Previous Locator

Additionally, when the PlayHead is positioned on a particular Marker, it is highlighted in the Marker’s list.

8.6.3. Editing a Locator

Select the desired Locator in the list and click on the empty field in the Comments column and add your custom text.

Locators

To rename a Locator, double click on its name and enter the new text.

8.6.4. Moving Markers

You can move a Locator directly in the timeline:

Position the mouse on the locator until the cursor shows locator and move the locator to the new position.

8.6.5. Exporting / Importing Locators

Save Locators

It is possible to export the Locators information in XML.

Click on EXPORT at the bottom of the TimeLine and choose Locators in the File Type drop-down menu.

Choose a location for your file and enter a name.

Finish with OK.

Import Locators

To import a Locators file, click on IMPORT at the bottom of the TimeLine and choose Locators in the File Type drop-down menu.

Browse the folder tree on your left, select the file and click OK.

8.7. Reels Management

Reels or Segments are often present in DCP or IMF packages.

  • To access the Reels panel, click on the TOOL tab of the Command Panel.

In ICE, the reels or segments are identified by a colored bar on the TimeLine.

Reels

8.7.1. Navigating through Reels

You can navigate from Reel to Reel using different options:

  • Double click on a time code in the Reels' list for the PlayHead to jump directly to the fist frame of the reel in the TimeLine.

  • Use shortcuts Alt+Ctrl+Page Up| for Next Reel and Alt+Ctrl+Page Down| for Previous Reel

Additionally, when the PlayHead is positioned on a particular Reel, it is highlighted in the Reels' list.

8.7.2. Deleting Reels

In order to delete a reel, click on the desired reel and click - to validate the deletion of the selected reel.

this action cannot be undone.

9. AUDIO MANAGEMENT

9.1. Audio in the TimeLine

Audio tracks and channels are reprensented in the Timeline as they are in the file.

The timeline allows an infinity of audio sounfields and individual audio channels.

Example of a composition with 2 soundfields:

audio

9.1.1. Display Audio Waveforms

  • press Right mouse button on the TimeLine background to display the Composition drop-down menu and select Audio Waveforms:

audio

9.1.2. Remapping audio channels

If the channels of an audio clip have been incorrectly mapped, it is possible to remap them automatically in the timeline:

Click on the audio channel to remap then use right mouse button to display the Clip drop-down menu.

in Channel Mapping, select the new channel to assign:

audio

You can verify the channels assignement of the clips when the audio lanes are extended:

audio

9.2. Audio Monitoring

In ICE, the audio is outputted on both the video IO card and the PC sound card.

When the PC sound card is used, if the system ressources are low, some images may drop to follow the sound.

When using the video IO, audio and images are guaranteed to be in sync.

Different tools like audio routing, down-mix and Audio meters are available for the QC of audio tracks.

9.2.1. Audio Routing

To route the audio channels:

  • In the Command Panel, select TOOLS then ROUTING

audio

If several soundfileds are present on te timeline, they will be displayed in the Routing panel in the same order.

  • To expand / collapse a soundfield, click on the triangle:

audio
  • Assign the audio layers of all the soundfields present on the timeline to the desired audio channel (up to 16) by a click in the cell:

audio
  • To change the channel assignment, click on the desired channel for each audio layers.

9.2.2. Down-Mix

If your listening device is not compatible with the soundfields on the timeline, it is possible to perform a down-mix to stereo:

  • In the Command Panel, select TOOLS then ROUTING

  • In the Audio Routing section, use the DOWNMIX dropdown menu to select the desired downmix configuration:

audio

9.2.3. Audio Analysis

ICE offers a full set of Audio monitoring tools for the quality control. Refers to the chapter Audio Monitoring for details about the different audio scopes.

9.3. Immersive Audio

9.3.1. Importing Immersive Audio files

In ICE, the Immersive Audio files are not managed as regular audio tracks.

When dropping an immersive audio track into the Media bin, ICE recognizes the metadata and displays a specific icon for the file:

audio

When importing manually clips, the immersive audio files must be placed on an Auxiliary data track on the timeline.

if ICE has detected immersive audio metadata in the file, it will prevent the drop of the file on a regular audio track.

  • Create a new Auxiliary data track by clicking on the X+ button on the left side of the timeline:

audio

In the drop down-menu, select the desired type of Immersive audio track:

audio

A new layer has been added to the timeline:

audio

You can now place your immersive audio track on the timeline.

A double click on the file in the media bin will immediatly open the file in the timeline at the right frame rate and time code configuration.

9.3.2. Dolby Atmos

ICE supports Dolby AtmosTM technology and allows the import and the render of Atmos files for QC purposes.

Supported Formats

ICE supports the following Atmos formats:

  • DAMF (Dolby Atmos Master Format)

  • BWF ADM (Broadcast Wave Format with Audio Definition Model)

  • IAB (Immersive Audio Bitstream) for DCP (including encrypted files) and IMF

These files can be imported in the timeline as stand-alone files or wrapped in an IMF or a DCP package (IAB).

When importing a DAMF in stand-alone, select in the directory the file with the extensions .atmos and drop it into ICE:

audio
Importing Dolby Atmos files

Proceed as mentioned above in the section Importing Immersive Audio files.

  • If your Atmos file is mastered for Digital Cinema, in the Auxiliary Track drop-down menu select Dolby Atmos Cinema

  • For any other type of Atmos file, use Composite Immersive Audio

The layer will be created with the audio configuration set by default (2.0, 5.1, 7.1 or 7.1.4).

To change the default audio configuration, go to settings PROJECT SETTINGS / DOLBY / DOLBY ATMOS

Dolby Atmos Rendering

It is possible to render (playback) all supported Atmos files through the integrated Dolby Atmos Renderer, to the exception of encrypted IAB files for Digital Cinema Package.

The Dolby Atmos Renderer permits the following channel based audio outputs:

  • 2.0

  • 5.1

  • 7.1

  • 5.1.4

  • 7.1.4

The rendering is defined by the default audio configuration, but this can changed on the fly in the Command Panel, TOOLS, ROUTING, Audio Routing.

  • click on the audio configuration Edit icon to display the drop-down menu and change the configuration:

audio
Dolby Atmos Metadata Inspection

Dolby Atmos metadata are displayed in the Metadata Inspector Panel:

audio
Dolby Atmos Room visualizer

The Room visualizer allows a real-time 3D visualization of the immersive audio objects positions in the room.

Analysis

See Audio Monitoring to display the Room meter.

10. CONFORMING

Conforming is a step that is sometimes necessary, in many and varied situations: reconnecting an off-line editing, connecting the subtitle tracks or the image sequences to their original files etc. This is also useful in case of media present in the timeline, but which have their source deleted from the project media bin.

The application allows to manage this crucial function with numerous options.

10.1. Conform an AAF and a XML file

Once the AAF or the XML file has been imported using IMPORT on the menu bar, a timeline appears with red unlinked medias, as shown below :

conforming

If the media is already present into the project media bin, it will be linked automatically.

When importing an XML or an AAF, the tracks could be imported as invisible. Be sure to have the track visible:

conforming

When a composition is loaded, by default the Playhead is positionned at TC 00: 00: 00: 00. To go to the first frame of your content, press the "Home" key, to make the playhead positioned at the entry point of the composition.

You can access to the Conform module with a right-click on the Viewport from the Timeline Module:

Click on CONFORM in the menu bar to access Conforming panel.

In the conforming panel, the media of the composition appear in list form, sorted by type. A series of columns containing media information are adjustable by placing the cursor between two columns :

conforming

To move and see the remaining columns on the right of the window, just click on the slider at the bottom of the list and scroll in one direction as in the other :

conforming

On the bottom of the panel, there is several tools used to configure how the content can be retrieved:

conforming
Search in

Choose if you want to look for media either in the project media bin (LIBRARY) or in the file system (SYSTEM).

Location

Specifies the navigation path through the media either in the project media bins or system directories.

Destination

Specifies the navigation path through the project media bins, in order to refer the media into the desired folder.

Match name

Searches will be based on the CLIP, REEL or FILE name of the content.
By choosing NO, this search option is disabled.

Match time

Searches will be based on the IN, OUT or IN & OUT timecode of the content.
By choosing NO, this search option is disabled.

Time Type

Searches will be based on different types of timecode:
DEFAULT (original timecode),
ABSOLUTE (hour of the day of shooting),
EDGE (unique timecode per roll).

Origin

Choose whether the previous timecode’s options are for the TC SOURCE or ORIGIN.

Offset

This option allows to match one timecode with another. For example, in the case of a media whose start time is different from the one of its edit list.

  • Click P to set a positive offset,

  • Click N to set a negative one.

Sometimes the conforming process requires the media to be renamed or completed in the case of missing information.

It is possible to rename the media by their Clip name, their Reel name or their File name.

To rename a clip, first select it in the list.

Enter a name and click SET:

conforming

With the TAG tool, the name can be based on an existing parameter. Clicking on it displays a list:

conforming

TAGs can be cumulated and added to typed text. For example, if the file name does not have existing information in its column and we want to fill it with information from the clip column, we choose the clip tag and then we type the file extension:

conforming

After clicking SET, the media’s FILE NAME column will be renamed:

conforming

You can apply the renaming function on several clips at the same time: select them using Ctrl and click.

You can also select all the clips Ctrl+A and deselect all of them Ctrl+D.

Once the settings are made, click MATCH at the bottom of the module to start conforming.

After scanning, linked files should display a thumbnail as shown below:

conforming

If some files could not be conformed with this first path, the operation can be repeated with any type of search without losing the previous conform.

When all the desired files are linked, just click on ESC to exit the module. Into the project media bin, the conformed medias have been referenced automatically.

In the project media bin, if a media has been moved from the operating system, the media will appear red in the list mode or with a “media offline” information into the thumbnail of the clip.

10.3. The EDL’s case

The Edit Decision List can be imported using IMPORT on the timeline:

conforming

Once the EDL has been chosen, a window will appear in order to select the appropriated settings before importing. All informations about the video and audio tracks, their transition as well as the timecode presents in the EDL will be displayed as a list. A slider on the right allows to go up and down throught the this list:

conforming

At the bottom left of the window, with the Import As drop-down menu, it is possible to import the EDL as a new layer or a new composition.

In the case of a New layer, for obvious reasons, some settings will be grayed and inaccessible. If a New composition is chosen, the dimensions, pixels and bit depth have to be setup or we can directly select a preset:

conforming

To the right, we can rename the Clip and Reel Name from the EVENT, REEL and COMMENTS columns:

conforming

A digit padding setting is available when choosing From Event as well as we can the choice to include or not the extension when using Comment:

conforming

Transition management can be generated by the application or interpreted as being a clip at the discretion of the user. If the EDL contains parameters color transformations, it is possible to keep or ignore them with the ASC CDL drop-down menu.

Once all settings are made, click on OK.

11. SUBTITLES & CAPTIONS

ICE is able to import and manage a wide range of subtitles and captions for the broadcast and film industries. To see the full list of formats supported by ICE, please refer to the Appendix Supported Input formats .

In the following section, we will see how to import and inspectsubtitles and captions.

11.1. About Subtitle Management

The way subtitles are managed by the application depends on the format but there is some common behavior.

11.1.1. Encoding UTF-8

For all text-based subtitle formats, only the UTF-8 encoding is supported.

11.1.2. Subtitle File Duration

It is important to differentiate the effective duration of the subtitle file from the interpreted duration.

The effective duration is ranging from the first spot to the last spot. Whatever timecode is indicated for the first spot, once placed on the timeline the interpreted start will always be 0:00:00:00 by convention unless otherwise specified in the metadata.

If a start TC is embedded in the file, for example an EBU STL file starting at 10:00:00, then the way it will be interpreted by the timeline differs depending on the way the file is opened:

If you double click on a subtitle file specifying a start TC directly in the media bin, it will be placed automatically on the timeline at the indicated Start TC:

Subtitles and captions

If you import a subtitle file specifying a start TC on an existing timeline using drag & CTRL V, then the start TC will be the one of the playhead location:

Subtitles and captions

In this last case, the original TC of the spots will be relative to the new start point of the file. This will be reflected in the spot list with a different color for the time codes (see below Subtitle Inspection chapter).

11.1.3. Subtitles metadata

Some subtitle formats carry metadata that are displayed in the Metadata page of the Command Panel.

When you import the file on a new subtitle track on the timeline, the track box will display the language information present in the file. However, if you delete the file and replace it with another clip of another language, the Track language information will not be updated automatically.

The Language information when present is also retrieved in the Master Delivery panel.

11.2. Import subtitles and captions files

It is possible to import text subtitles and graphic subtitles. A type of track is dedicated to subtitles files on the top of all the video layers in the composition.

11.2.1. Import text profile

The import of standalone subtitle file is similar to a video or a audio assets.

You can import the subtitle file directly from the OS browser by selecting it and dragging it into the Command Panel's Media bin.

11.2.2. Import image profile

The way to import subtitles and captions image profile is identical to text profile.

However, make sure the image files and the subtitle XML file are in the same root folder, permitting to automatically locate the image files to which the XML subtitle file refers.

11.2.3. Place a subtitle file in a composition

To place your subtitles and captions in the timeline create a subtitle track by clicking S+ at the top left of the timeline and place your media like any other asset type or paste it directly to the playhead location.

In case you have selected multiple subtitle tracks, they will be stacked on the top of each other.

11.2.4. Set the composition format according to the subtitle

It is possible to configure the composition size according to the properties of a subtitle file such as IMSC1. To do this, the file must have the attribute tts: extent defining the resolution of the image in its settings.

Most of the time, this attribute is used in the subtitle files using the image profile and the pixel unit. This is to inform the optimal resolution of the use of the subtitle, so as not to deteriorate its quality which the would make it unusable:

  1. From the subtitle track, right-click on the subtitle file.

  2. Click on Set composition format.

The composition fits the dimensions of the subtitle file.

In the case of using a subtitle in text profile, the subtitle will use the same resolution as the current composition. The text being vectorial, there is no loss of quality.

11.3. Inspecting subtitles

Once a subtitle has been loaded in the timeline, it is ready for inspection.

11.3.1. Loading font for subtitles

The subtitle file can contain one or more blocks of text, each block itself being able to contain several lines of text. Each block has several properties, including the font face type, size and of course the start and end time during the presentation.

As soon as the subtitle has been placed in the timeline, subtitles are displayed into the Viewport. If not, verify that the associated font has been loaded:

Go to the TOOLS panel in the Command Panel. A panel appears to allow you to modify reels, markers, subtitles, locators as well as track.

In the SUBTITLES tab, access the FONT tab.

If a font is present in the subtitle, it will automatically appear under the tab FONT.

If the font has been not loaded, no font will be listed and no subtitle will be displayed into the Viewport. Note that a subtitle file can have multiple referenced fonts into the list.

Subtiles and captions

In order for a font associated with a subtitle to be automatically loaded, the font file must be in the same root folder as the subtitle text file. Otherwise, the Arial font is loaded by default.

Double-click on the font number to open the Font Library. Fonts present in this list are based on the OS font folder.

Select the desired font into the list and click on OK to validate your selection.

TrueType fonts (.ttf) larger than 640 KB will be displayed in yellow to warn you that they are not respecting the DLP Cinema subtitles specifications (CineCanvas) for DCP mastering.

11.3.2. Displaying multiple subtitles

The way mutliple subtitle tracks are displayed depend on the mode of the composition:

  • in VERSIONING mode, only the top track will be displayed.

  • in COMPOSITING mode, all tracks will be displayed simultaneously

If needed you can hide a track using the Enable / disable icon (eye).

In order to check the proper placement of subtitles on the image, you can display a safe-frame guide from the Viewport Hot Box (press alt+ right-click on the viewport).

11.3.3. Browse subtitles using the spotlist

It is possible to quickly navigate from one subtitle line to another one in the composition.

Access the SUBTITLES tab from the TOOLS panel and choose TEXT.

Double click on the timecode REC IN or REC OUT :

DCI

Of course this is based on the timecode of the subtitle track, not on the composition’s one. If your subtitle track is not starting on the first frame of your composition, the timecode will be different.

If the Timecodes in the spotlist are displayed in yellow, it means that they have been adjusted from the original source timecode to match the actual composition.

12. COLOR MANAGEMENT

12.1. About CMS in ICE

The Color Management System defines the working color space of the composition. It is possible to mix the color pipelines within the same project, however a composition can only refer to one CMS.

Color processing in ICE works in 32-bit floating point.

12.1.1. Color Management Systems

First, you need to define which color system you want to use for your composition.

ICE supports 3 different color management systems :

  • the Native CMS of the content.

  • the ACES color management.

  • the ACES color management.

  • MTCMS, the custom color management of ICE.

The selection of the Color Management System is done in the Composition Settings.

12.1.2. Workflows

Once the CMS is chosen, you need to define a workflow for color processing.

Available workflows are different according to the type of CSM chosen.

Workflows for Native and MTCMS
Custom

allows you to manually define the Color Primaries, EOTF, etc.

Dolby Vision

Enables the Tone Mapping settings. When Dolby Vision mode is selected, the image viewport displays the Dolby Vision logo.

HDR10

Automatically sets the Primaries and EOTF according to HDR10 standard specification. When HDR10 is selected, the image viewport displays a HDR10 logo.

HLG

Automatically sets the Primaries and EOTF according to HLG specification. When HLG is selected, the image viewport displays a HLG logo.

Workflows for Native and MTCMS

In ACES mode, the Workflow defines the output device transform (also referred as ODT).

12.1.3. Safe Gamut

Safe Gamut

displays the color boundaries in the scopes.

Light Levels

defines the boundaries for the working color space. This information is used in the HDR validation and some scopes.

12.1.4. Content Light Levels

Max FALL and Max CLL information can be manually entered here, if the media has not that information embedded.

Should the media has this information, ICE will automatically display them.

When a HDR Analysis is performed, the Light levels will be filled/replaced by the result of the analysis.

12.1.5. Timed Text Color Management

ICE allows to manage the subtitle luminance independently of the one of the video track. This setting is effective only in the case of an HDR composition (i.e using an EOTF PQ or HLG) and using the MTCMS system.

Color Sapce

When defining the text color space, the conversion to a Rec 2020 HDR color space will be performed properly, especially in case of burned-in subtitles.

Gain

By default, a factor of 4 is applied in ICE (e.g. a 100 nits subtitle will appear at 400nits.) It is possible to check the luminance of the subtitles using the waveform scope.

When performing an HDR analysis remember that displayed subtitles are taken into account for the analysis.

12.2. Native CMS

This system uses the native color space of the source clip and allows you to encode your content without any color conversion (e.g. when using a source already encoded in XYZ for DCP output). ICE manages the media as is.

CMS

This means that no processing is applied to the source media unless you decide to apply a color correction or use a LUT.

In Native mode, if you define a different output color space and export the media, ICE will only modify the metadata of the format, and no color transformation will happen.

12.3. ACES

ACES, for Academy Color Encoding System, has been developed by AMPAS (Academy of Motion Picture Arts and Sciences) with the intend to help preserve the color integrity of the content from shooting to archiving.

Specific algorithm allows any kind of source to be processed within the controlled environment of the ACES color space and for a specific output.

CMS

12.3.1. Input Device Transform

When selecting the ACES CMS, ICE will inspect the media metadata to automatically set the right IDT.

However you may want to modify per clip the IDT. ICE has a non exhaustive list of IDTs including the ones defined for cameras and a list of main inverse ODTs.

From the GRADE PANEL in the Source tab, choose the IDT corresponding to the properties of each of your clips.

CMS

12.3.2. Output Device Transform

In ACES system, you need to choose an Output Device Transform to display properly your content. ODTs are defined for standard outputs only not specific pieces of equipment.

The ODTs are chosen in the Workflow drop down menu.

12.4. MTCMS

The Marquise Technologies' Color Management System is a custom color management system.

CMS

For more precision and reliability, MTCMS uses industry standards to compute on-the-fly the exact values for every possible color. No interpolation is done when using LUTs.

Using MTCMS, it is necessary to indicate to the software what are the color parameters of the source clip(s), in order to be able to perform the accurate color transformation.
The color primaries and the transfer curve of the source are set in the GRADE panel, tab SOURCE

CMS

By default source parameters are set on Rec709. However if color metadata exist in the media, the software will recognize them and characterize the source accordingly.

  • In the MTCMS panel,specify a Workflow before settings the Color Primaries and EOTF.

12.4.1. Chromatic Adapatation

ICE supports different chromatic adaptation also called Color Appearance Model (CAM). This adaptation makes it possible to match the original RGB color coordinates of the DSM to equivalent CIE XYZ coordinates. These colors are not matching from a colorimetric point of view but rather from a perceptual point of view. This is why ICE offers different methods that will meet the needs of each project. Select a method to apply for adapting the white point of your source media to the one set in the MTCMS:

XYZ Scaling

XYZ Scaling is an old algorithm generally considered to be less efficient than the new ones.

Bradford

Bradford is most advanced than Von Kries and XYZ. Because of the varying color constancy of the samples, the algorithm was designed so that corresponding colors represented the same appearance under the different illumination sources, and not necessarily the same sample.

Von Kries

The algorithm assumes that chromatic adaptation is indeed an independent gain control of the cone responses of the human visual system and that the scaling is based on the ratio of the cone responses of the illuminants.

12.5. Displays

12.5.1. Mastering Display

The Mastering display is used to describe the capabilities of the display used to master the content : CIE (x,y) chromaticity coordinates for RGB primaries, White Point, and min/max luminance of the mastering display.

The characterization of the mastering display based on the SMPTE ST-2086 standard is a key element when working in PQ (ST-2084) and Dolby Vision. These statics metadata are critical for HDR mastering and ICE allows to care these informations through the whole process.

ST-2086 metadata is stored per composition, so in a project with multiple compositions, you can have different metadata settings for the mastering display.

However, ICE does not support only the mastering display metadata in files but also control the display device via their proprietary protocols to send the right metadata and avoid forcing the users to use the monitor menus.

When loading a composition (or changing its settings) ICE will communicate the parameters to the display.

  • Select a Preset:

CMS

The list of presets varies according to the CMS workflow chosen.

If the monitor list is empty, it might be a problem of Windows ‘access rights on the folder. In order to fix it, go to the ICE folder, right-click on the displays folder and go to Properties then Security to give the Full control.

Do not confuse the Mastering Display of the composition settings for ST-2086 metadata with the Mastering Display parameters in the Projects settings, allowing to configure the communication between ICE and the reference monitor.

If your monitor is not in the preset list, you can create one by using an existing sample in XML and edit it. This XML has to be place in : \program files\Marquise Technologies\ICE\resources\displays

  • Use Custom to define your own monitor characterization.

CMS

12.6. Source Characterization

As explained previously in the chapter Setting the CMS, the color management in ICE requires to define the colorimetric information of the sources placed on the timeline of our composition. With this information, ICE will be able to manage them appropriately for all future operations (e.g. conversions, color-grading, export etc.). Source settings can be managed individually by clip.

ICE reviews existing metadata of media. By default, settings are set on Rec709 and BT.1886 but if there is any color metadata present in the file, ICE will automatically load it as Source settings. If not, you need to characterize the source manually.

  • Access the GRADE panel (F9) at the bottom right of the timeline.

  • Select the clip(s) in the timeline

  • In the Source tab, select the source parameters.

From one colorimetric system to another, the required information may vary slightly.

  • To use the same settings on all the clips, select them on the timeline then use the GANG function.

12.6.1. in NATIVE mode

Source_settings

When you are in NATIVE mode, the most important setting you really need to pay attention to is the Range.

Setup the Range

ICE always compute in FULL range internally meaning that:

  • If HEAD range is selected, ICE will scale the legal range to fill the FULL range.

  • If FULL, range is selected, ICE will keep the native range of the media.

That’s why if no information of range is present in the media, the FULL range will be set by default. This avoid any additional compression if the source is indeed encoded as FULL content but with no metadata saying.

Be careful with this setting or your output may have levels that are not correct.

Use the Histogram (SHIFT+H) and check the SMPTE box option to see the scale of your source.

12.6.2. in MTCMS mode

Source_settings
  • If you use the MTCMS system, select the color space, the EOTF and the range corresponding to the nature of your source via the drop-down menu.

  • When converting SDR to HDR content, the HDR Gain is used to raise the levels of an SDR source. The percentage gain corresponds to its equivalence in nits (e.i 100 nits = 100%).

12.7. Apply a Look up Table (LUT)

ICE supports different formats of LUTs including 3D LUT (.3dl), ARRI LUT (.xml) and Iridas LUT (.cube).

You can add your own LUTs in .cube (IRIDAS), .3dl (3d LUT) and .xml (ARRI) format by placing them in the folder \program files\Marquise Technologies\ICE_x.x.x.x\luts

12.7.1. Apply a LUT for the Viewport

ICE allows you to add a LUT for the Viewport

  • In the Composition Settings, Displays tab, Viewport Display section, use the drop down menu to add a LUT:

CMS

12.7.2. Apply a LUT for a clip

ICE allows to apply a LUT per clip.

  • The CMS must be set on NATIVE

  • Select the clip(s) in the timeline

  • In the GRADE panel / SOURCE, select the LUT using the drop-down menu on the right:

CMS
  • To use the same LUT on all the clips, select them on the timeline then use the GANG function.

You can add your own LUTs in .cube (IRIDAS), .3dl (3d LUT) and .xml (ARRI) format by placing them in the folder \program files\Marquise Technologies\ICE_x.x.x.x\luts

13. ANALYSIS TOOLS

ICE has a full sets of analysis tools, for the image, the audio and also the content bit rate.

It can also load 3rd party QC reports.

13.1. About the scopes

A variety of scopes are available for image and audio analysis.

Each scope can be shown or hidden independently.

They can be moved and resized across the Image Viewport at the operator’s convenience.

To adjust the size of the scopes, position the mouse cursor on the corner of the panel and use click & drag up or down.

To move the scope, position the mouse on the scope panel and simply click & move.

To modify the scope transparency, use the OPACITY scroll bar

To display the scope' OPTIONS, right click on the scope. This will open the options' menu. Click anywhere outside the menu to close it.

To close a Scope, click CLOSE on the scope.

13.2. Image Analysis

A large set of Analysis tools are avaialble to perform image quality control.

13.2.1. The Histogram

A histogram is a graphical representation of the tonal distribution in a digital image.
It plots the number of pixels for each tonal value. By looking at the histogram for a specific image one is able to judge the entire tonal distribution at a glance.

You can use Shift+H to display the Histogram.

Scopes

Options

Style

The Histogram can be set to display RGB information separately or overlaid (red, green and blue together).

Sample

Show the position in the Histogram of the pixel at the cursor’s location

Density

For film:
Line 1 = Ref. black
Line 2 = Ref. Grey
Line 3 = Ref. white

SMPTE

Show Video Range (aka Head/Legal).

RGB

Show minimum and maximum values per color channel.

13.2.2. The Vectorscope

The vectorscope is used to visualize chrominance, which is encoded into the video signal as a subcarrier of specific frequency: it plots the Cb and Cr channels against each other, for the purpose of measuring and testing television signals.

You can use Shift+V to display the Vectorscope.

Scopes

Options

Labels

Show/Hide the color labels.

Targets

Showcope-cie.png/Hide the color targets. They represent the maximal values according the Matrix chosen.

Sample

Show the position in the Vectorscope of the pixel at the cursor’s location.

13.2.3. CIE 1931 Chromaticity Diagram

This diagram allows you to see how the signal is displayed within the color space chosen.

You can use Shift+G to display the CIE diagram.

Scopes

Legend

Color Space

Displays the working color space for your content (see Settings | CMS).

Safe Gamut

Display the safe area for a particular color space . (see Settings | CMS)

Mastering Display

Display the capabilities of the Mastering Display . Refer to the Mastering Display section for more information.

Options

Sample

Show the position in the diagram of the pixel at the cursor’s location.

Labels

Show/Hide wavelenghts in nanometers

Display

Show/Hide Mastering Display Information

Safe Gamut

Show/Hide Safe Gamut information

13.2.4. The Waveform

The Waveform is used to measure and display the level of the brightness, or luminance, of the part of the image being drawn onto a screen at the same point in time.

You can use Shift+W to display the Waveform.

Scopes

Options

Type

You can switch between the traditional video waveform and the ST2084 or HLG modes used for monitoring HDR content.

Style

the Waveform can be set to display information in a large variety of styles.

Color Space

You can choose between the RGB or YCbCr color spaces.

Sample

Move the mouse on the image to show the level at the cursor’s position (yellow line). This value is displayed in percentage in video mode, or in Nits (Candela/sqm) in ST2084 and HLG modes.

When using the type ST2084 the waveform will display the scale in relation to the settings selected for the Mastering Display.

13.2.5. Zebra patterning

This tools is very similar to the camera zebra mode for controlling the exposure.

The Zebra mode displays in blue the pixels below the boundaries, and in red those above:

Zebra

to display the Zebra, use Alt+Z.

The Zebra boundaries are defined by the Mastering Display parameters in the Composition Settings. You can also set your own maximal and minimal Luminance values by choosing Custom Mastering display.

The image scopes are affected by the Zebra display, as they analyse the additional red and blue information on the image.

13.2.6. The Luminance Meter

The Luminance meter is used to measure the photometric brightness of an HDR image. It measures the amount of light that strikes a surface in the picture.

You can use Shift+N to display the Luminance meter.

HDR
Max Light Level

Informs you about the higher light level on the current frame.

AVG Light Level

Informs you about the average light level on the current frame.

MaxFALL

Indicates the highest frame average brightness per frame (entire content).

MaxCLL

Indicates the brightest pixel (entire stream).

Sample

Move the mouse on the image to show the level at the cursor’s position (white line).

Live view

Analyses on the fly the MaxFALL and MaxCLL values of the content while it is playing. You can have different nit scales by selecting the desired one with the drop-down menu.

Global view

Allows you to display the full graph statistics values after the launch of a global analysis. For more details refer to the section HDR.

13.2.7. Pixel Inspector

You can display detailed color information for a specific area of the image (pixel accuracy).

  • To display or hide the Pixel Inspector, use Shift+K.

Analysis

To display the color values, enlarge enlarge the size of the inspector window.

The information are displayed per color channel (R, G, B and A).

13.3. Audio Monitoring

There is a full set of Audio monitoring tools for the quality control.

You can use Shift+A to display the Audio meter.

Select a Type of meter and the desired scale for the meter:

Right-Click on OPTION to toggle the meters.

13.3.1. VU-Meter

The VU-Meter displays a representation of the signal level per audio channel.

Analysis

13.3.2. Peak Meters

You can display Peak Meters information, Sample Peak and True Peak.

True Peak

This shows the peak level of the waveform no matter how brief its duration.

Analysis
Sample Peak

This meter shows only peak sample values, not the true waveform peaks.

Analysis

13.3.3. Loudness Meter

The Loudness meter measures the human perceived loudness of an audio content.

Here the Loudness Meter is based on the EBU R128 Loudness recommendation.

Analysis

13.3.4. Surround Meter

In this meter, the positions of the full range loudspeakers are marked on a graticule and the amplitude distribution of the sound-field is used to modulate a visual representation, also called "jellyfish display".

Analysis

13.3.5. Phase Meter

The phase relationships that exist between channels of a multi-channel audio system represent critical information to a quality-control engineer.

Analysis

13.3.6. Room visualizer

The Room visualizer allows a real-time 3D visualization of the immersive audio objects positions in the room.

Analysis

Click anywhere in the scope with Alt pressed for orienting the room in any direction.

13.4. Peak Signal-to-Noise Ratio

The PSNR computes the peak signal-to-noise ratio, in decibels, between two images. This ratio is often used as a quality measurement between the original and a compressed image. Using the same set of tests images, different image enhancement algorithms can be compared systematically to identify whether a particular algorithm produces better results. The higher the PSNR, the better the quality of the compressed, or reconstructed image.

The PSNR is usually expressed in logarithmic decibel scale. However, you must follow the requirements given by the company asking you a PSNR report. Each company has its own specifications.

13.4.1. Launch a PSNR analysis

To launch a PSNR analysis, you need to have the two sources to compare in the Library. The two sources must come from the same content part and have to be of different quality.

Open it into the Dual Viewport. For further information, please read the Dual Viewport chapter.

Proceed to a Frame Matching and click on LOCK.

PSNR

Go to the Composition Analysis tool by pressing F6 and select PSNR from the Type drop-down menu.

PSNR

Click on ANALYSE to launch the analysis.

13.4.2. Open the PSNR scope

As soon as the progress bar has finished, you can read the results of the analysis via the PSNR scope. To access it, press Shift+P.

PSNR

13.4.3. Export a PSNR Report

If you want to export the PSNR report as a PDF file or an XML file, click EXPORT on the timeline.

Choose the file type from the File Type drop-down menu.

PSNR

13.5. Bitrate Meter

The Bitrate Meter is used to measure the bitrate of the content playing.

You can use Shift+B to display the Bitrate meter.

Analysis
Bitrate

Indicates the current bitrate in MBP/s when playing.

Max / Min

Indicates the maximum and minimum bitrate in MPB/s recorded by the meter.

Average

Shows the average analysed bitrate.

the Bitrate meter is active only when you launch the playback. If you stop the playback, the counter will be reset.

You can select the desired scale of reference to read the measures in the drop-down menu.

13.6. Video Pipeline Diagram

The Video Pipeline Diagram allows you to have a quick look at the video pipeline set up.

press Alt+F6 to display the diagram:

Analysis

This very useful tool gives you an immediate view of your displays connection settings as well as your color pipeline.

Thanks to a specific color code, you can easyly distinguish the different types of output signals: blue for SDI connexion and cyan for HDMI.

13.7. File based QC Support

Marquise Technologies' solutions integrates with automated file based QC solutions for providing a human review of the error reports.

Currently we provide support for the following automated QC reports:

  • Aurora (Tektronix)

  • Baton (Interra)

  • Pulsar (Venera)

  • Vidchecker (Telestream)

When loading the XML reports from these automated QC solutions, the operator is able to manually inspect the errors flagged for a media by navigating on the timeline from error to error.

13.7.1. Loading a QC report

To load a QC report for the content you have on the TimeLine, click on the IMPORT button in the Menu bar of the TimeLine.

Browse your directories to select the error report and select in the FILE TYPE drop-down menu the desired QC tool :

QC

Once the report is loaded, the errors are displayed on the timeline on the Locators' track:

QC

To navigate from error to error, open the TOOLS panel from the Command Panel access then go to the LOCATORS tab:

QC

Click on a specific Timecode to jump to the location of the error.

To display the full error name you can resize horizontally the Command Panel.

14. HIGH DYNAMIC RANGE

14.1. About HDR

14.1.1. What is High Dynamic Range?

“High dynamic range is specified and designed for capturing, processing, and reproducing scene imagery, with increased shadow and highlight detail beyond current SDR video and cinema systems capabilities.” (Society of Motion Picture and Television Engineers® (SMPTE® Study Group Report High-Dynamic-Range (HDR) Imaging Ecosystem)).

HDR offers the ability to capture, process, distribute, and display large contrast ranges, resulting in more realistic images. The images are not just brighter with contrasts artificially dilated.

The brilliance of the objects are more faithful and the details in the high and the low lights are better represented.

HDR makes it possible to have images with more depth and better saturated highlights. Differences in brightness between indoor and outdoor scenes make more sense.

High Dynamic Range moving images capture is a reality since the first high-end digital cameras. RAW images have naturally a very high dynamic range, with an average of 14 stops for the ARRI Alexa and the SONY F65. Those camera manufacturers already offer wide gamut capture, 6K or 8K resolution at up to 120 frames per second. The bottleneck for HDR was the post-production workflows, not ready because not yet standardized, and no capable display devices were available.

Now that some pioneers have lead the way, like Dolby, and that standardization committees and industry alliances have made great works to specify what HDR is, deliveries in HDR have become a reality, pushed by the consumer market opportunities.

  • The Blu-ray association has already published specific metadata and requirements for HDR, based on the HEVC codec like the Ultra HD Blu-ray – HDR disc format using the HEVC, HDR10, and optionally Dolby Vision.

  • The Interoperable Master Format Studio Profile applications have been extended to support HDR content and metadata (also referred as Application 2e+).

14.1.2. Standards

A variety of SMPTE standards specifies the different types of HDR.

SMPTE ST-2084 HDR

ST-2084 is based on the “perceptual quantizer” (PQ) initially proposed by Dolby. It defines the EOTF (for Electro Optical Transfer Function, a Gamma curve) for the HDR10 and the Dolby Vision formats.

This non-linear curve defines how Luminance is increasing above the standard white reference (100 nits), in the spectral highlights. ST-2084 is defined up to 10’000 nits. (Current HDR display devices support a maximum of 4’000 nits – Dolby Pulsar).

SMPTE ST-2086

“Mastering Display Color Volume Metadata Supporting High Luminance and Wide Color Gamut Images”, this standard accompany the ST-2084 and defines the static metadata embedded in the HRD content.

This metadata is used to describe the capabilities of the display used to master the content : CIE (x,y) chromaticity coordinates for RGB primaries, White Point, and min/max luminance of the mastering display.

This is a characterization of the hardware used and has nothing to see with the MaxFALL and MaxCLL metadata, which are statistical measures of the content.

These parameters are essential to know what you are looking at.

SMPTE ST-2094 Dynamic Metadata for Color Volume Transform

The metadata are intended for transforming high dynamic range (HDR) and wide color gamut (WCG) image essence for presentation on a display having a smaller color volume than that of the mastering display. The metadata are content-dependent and can vary scene by scene or image by image.

Four technologies have been currently specified, even though currently the Applications 1 and 4 are more spread.

ST 2094-10 DMCVT – Application #1

A standardization of Dolby’s technology (Parametric Tone Mapping)

ST 2094-20 DMCVT – Application #2

A standardization of Philips’ technology (Parameter-based Color Volume Reconstruction)

ST 2094-30 DMCVT – Application #3

A standardization of Technicolor’s technology (Reference-based Color Volume Remapping)

ST 2094-40 DMCVT – Application #4

A standardization of Samsung’s technology (Scene-based Color Volume Mapping)

HLG

Based on the ITU-R BT.2100, the Hybrid Log Gamma curve is coming from a joint study of both BBC and NHK. Their aim is to insure the backward compatibility with SDR devices and content, a key element for broadcasters in the adoption / transition to HDR. The main difference with ST-2084 is that definition reached 5’000 nits and that is does not carry specific mastering metadata.

HDR IMF

The ST 2067-21 Interoperable Master Format – Application #2 Extended has been extended to support HDR content and metadata (also referred as Studio Profile).

14.1.3. Vocabulary

Below you will have an overview of the vocabulary frequently used with the HDR technology used as well in this documentation:

  • WCG: Wide Color Gamut - Rec.2020 has 2x more colors than Rec.709.

  • HDR: High Dynamic Range TV (ITU-R BT.2100)

  • SDR: Standard Dynamic Range TV (Rec.601, Rec.709, Rec.2020)

  • HFR : High Frame Rate (100 & 120 fps)

  • HEVC: High-Efficiency Video Codec (H.265) - 2x more efficient than AVC

  • PQ: Perceptual Quantizer Transfer Function for HDR signals (SMPTE ST 2084, ITU-R BT.2100)

  • HLG: Hybrid Log Gamma Transfer Function for HDR signals (ITU-R BT.2100)

  • HDR10: 10-bit HDR using BT.2020, PQ and static metadata

  • DoVi: Dolby Vision – 12-bit HDR, BT.2020, PQ, Dolby Vision dynamic metadata

  • DMCVT: Dynamic Metadata for Color Volume Transforms SMPTE ST 2094

  • EOTF: Electro-Optical Transfer Function.

14.1.4. HDR Global Analysis

The HDR global analysis tool measures the light level of the composition range defined by the user to obtain the MaxFALL and the MaxCLL values.

The MaxFALL/MaxCLL information is mandatory for some deliverables, especially for HDR10.

Maximum Frame Average Light Level is a metadata recording the average brightness of every pixel in the brightest frame of a given program.

Maximum Content Light Level is a metadata recording the nit level of the brightest pixel in the frame.

Used among others in ST-2086, these values are important in order to control and display the images viewed on the display with accuracy.

Setup the Active Image Area

Before the launch of the analysis, you need to define the aspect ratio of the content to exclude any blanking area from the analysis which could skew the results.

Go to the Composition Settings then inside the FORMAT tab, select the Frame Aspect ratio to define the active area.

To see the active image area on the Viewport, press Alt+B to display a green border frame :

HDR
Launch the analysis

Once the frame aspect ratio has been setup in order to have the appropriate active image area for your content, you can launch the analysis.

Go to the Composition Analysis by pressing the F6 key and select HDR Statistics with the Type drop-down menu:

HDR

Select the Source Color Space corresponding to the content and launch the analysis by clicking on the Analyze button:

HDR
View analysis results

As soon as the analysis has been completed, you can access the results of the analysis by revealing the Luminance Meter with the shortcut SHIFT+N.

Choose the Global type with the drop-down menu to display the full graph of the analysis:

HDR

The first values displayed at the top left are the MaxFALL and MaxCLL values of the current image displayed on the viewport. The values below concern all the analyzed content.

The Content Light Levels are reported automatically after an analysis into the Composition Settings in the CMS tab:

HDR

The Content Light Levels displayed in the CMS tab of the Composition Settings are updated after a new analysis.

It is also possible to type manually the MaxFALL and MaxCLL values in these fields.

Export an HDR statistics report

To export the HDR statistics as a PDF or an XML file, click on the EXPORT button. Define a file path, name the report and choose the desired File Type with the drop-down menu:

HDR

14.2. Dolby Vision

Dolby VisionTM is a proprietary HDR technology developed by Dolby Laboratories, Inc using the PQ curve on the operating principle of Parametric Tone Mapping.

See section Third-party Licenses of this manual regarding all obligations related to the use of DolbyTM technologies.

14.2.1. Dolby Vision Content Mapping and Metadata versions

Marquise Technologies' solutions support the different versions of Dolby Vision’s algorithms: the Dolby Vision Content Mapping version 2.9 (CMv2.9), the Dolby Vision Content Mapping version 4.0 (CMv4) (beta).

These algorithms are linked with different versions of Dolby Vision Metadata:

  • Metadata 2.0.5 (used by CMv2.9)

  • Metadata 4.0.2 (used by CMv4)

  • Metadata 5.1.0 (used by CMv4)

Users should select Metadata 2.0.5 for new projects unless otherwise stated from the studio during the transition phase to CMv4 ecosystem adoption.

Projects started or created in one version cannot be converted to another version.

14.2.2. Content Mapping Unit (CMU)

The Dolby Vision Content Mapping Unit (CMU) is able to emulate a number of secondary display targets and aims to produce images adapted to those displays. It maps the content with the metadata for a specific display, could it be at a standard brightness (e.g. SDR 100 nits) or higher.

The Dolby Vision PQ images as well as the color volume transform metadata are sent to the CMU which "renders" the images before they are outputted to a connected display device.

Marquise Technologies' solutions support the eCMU (external CMU), as well as the iCMU (internal CMU). Both requires a valid Dolby Vision license provided by Dolby Laboratories.

The preview of a Dolby Vision content requires either a iCMU license or a eCMU device. The inspection of the metadata only does not require Dolby’s CMU.

Setup of the eCMU

The Dolby Vision metadata are sent over the SDI to the eCMU. An Ethernet connection allows the software to control the eCMU.

The eCMU has to be setup following Dolby Vision CMU user’s manual. The following picture shows a typical case to setup properly the displays:

DoVi

To enable the eCMU, select eCMU in the Project Settings, Dolby, Dolby Vision tab.

The good communication between the computer and the eCMU can be verified on the eCMU Home Page by typing its IP address into a web browser:

DoVi

Sometimes the Firewall can interfere with the connection between the eCMU and the computer. Remember to configure it accordingly.

The eCMU’s status can also be visualised in the Video Pipeline Diagram by pressing Alt+F6.

Go to the eCMU Home Page to control the eCMU:

To perform color corrections, the signal must be set on Normal. If Pass through is selected, the image is displayed without the corrections (bypass).

Setup of the Video Output with the eCMU

In order to display the Dolby Vision technology in an appropriate way, the video output settings into the Project Settings (F1) have to respect some rules:

Format

The RGB 4444 format is mandatory

Transport

Choose the SDI level B

Scaling

Scaling must be setup on HEAD

Pixel Format

Select 16 bit

Setup of the iCMU

See Project Settings / Dolby to install the license for the iCMU.

When using the iCMU, the tone mapping is automatically applied based on the Dolby Vision metadata before it is sent through the SDI or displayed on the image viewport of the software.

DoVi
About HDMI Tunneling

This features refers to the capability to output the Dolby Vision metadata through HDMI using a AJA Kona5, directly to a Dolby Vision consumer TV device to simulate the behavior of the image.

If your video IO card is compatible, then HDMI tunneling for Dolby Vision happens automatically.

14.2.3. Composition settings for Dolby Vision

The Composition settings need to be carefully chosen for Dolby Vision content.

They are set in the Control Panel, SETTINGS

Select the Versioning mode

It is important to set the Composition in versioning mode to help prevent undesired modifications on the image.

Go to the Composition settings / GENERAL tab. Select the VERSIONING type.

DoVi
Select the Active Area Aspect

Active image area metadata including the Canvas Aspect Ratio and Aspect Ratio Images information are crucial and mandatory when using Dolby Vision technology.

These metadata are required for knowing the Active Image Area of pixels to be processed. For example, this information is critical in the cases of letter and pillar boxing in order to exclude them from any processing.

To select the Active Area, go to the FORMAT tab of the Composition settings and select your aspect ratio from the drop-down menu on your right:

DoVi

To see the active image area on the viewport, press Alt+B to display a green border frame.

If you are importing Dolby Vision metadata, make sure that the Active Area Aspect settings of your composition match those used in the existing Dolby Vision MDF file.

Setup the color pipeline for Dolby Vision

To setup the Color pipeline, go to the Composition Settings / CMS and choose a color system:

NATIVE

Choosing the NATIVE mode for Dolby Vision content requires a source in PQ rec2020 or P3. Also, be sure that no Look Up Table has been applied on it.

MTCMS

Using MTCMS, you first need to define the color primaries and the transfer curve (EOTF):

  • To work in Dolby Vision, the Transfer Response Curve must be set on ST 2084 (PQ).

  • The color primaries can be either Rec2020 or P3, according to your source content.

  • You can also setup the Luminance Levels for minimum and maximum brightness.

  • Remember that when using MTCMS, it is always necessary to identify the source color space:
    Source color parameters for the clip(s) are set in the SOURCE tab of the GRADE Panel.

Whatever CMS you chose, select Dolby Vision in the Workflow list:

DoVi

This will enable the Tone Mapping parameters.

Select the metadata version:

DoVi

Setup the Mastering Display for Dolby Vision in SETTINGS / DISPLAYS:

DoVi

For more information, please refer to the chapter Mastering Display.

Set the Mastering Display after having set the CMS properly in order to display the right list of monitors characterization.

If you are importing Dolby Vision metadata, make sure that the Mastering Display information of the composition match those used in your existing Dolby Vision MDF file (i.e. if Dolby Pulsar is used into the Dolby Vision MDF file, select the Dolby Pulsar from the template list).

If you need further information on Color Management, please read the chapter Color Management.

14.2.4. Import Dolby Vision metadata

Marquise Technologies' solutions support the two variations of Dolby Vision metadata:

  • Dolby Vision color volume transform metadata into an XML file, aka MDF file.
    also known as "Dolby Vision metadata XML file" or "Dolby Vision MDF file".

  • Dolby Vision color volume transform metadata into an ISDX track (MXF file), following the RDD 47 "Interoperable Master Format – Isochronous Stream of XML Data (ISDX) Plugin" specification.
    also known as "Dolby Vision metadata MXF file" or "Dolby Vision metadata MXF track"

Import Dolby Vision metadata XML file

There is two methods for importing XML file:

  • Import directly on the clip

  • Import as an auxiliary track

Import on the clip

After the source content is added on the timeline and the composition settings properly set, you can add the corresponding Dolby Vision metadata XML.

Right-click on the desired clip on the timeline and choose Dolby Vision Metadata Import:

DoVi

Choose the file using the browser and validate with OK.

A successful import will result in displaying a yellow bar on the concerned clip:

DoVi

The Import Dolby Vision Metadata on clip option is enabled only if the Compostions Settings are set on Dolby Vision workflow and a tone mapping is chosen.

This method works only when the metadata file exactly matches the duration of the clip.

Import as an Auxiliary track

First, you need to refer the XML file in the Media bin of the project.

Drag & drop the file in the media bin.

If the XML file is correct, the Dolby Vision logo is displayed in the thumbnail.

To import the XML on the timeline, you must first add a special Auxiliary layer.

Press X+ on the timeline and select the corresponding metadata MXF file:

DoVi

This will add a new layer on the timeline:

DoVi

You can now place your MDF file at the desired location on the timeline.

Import Dolby Vision metadata MXF track (RDD 57 ISXD)

The RDD 57 ISXD is an MXF file containing the Dolby Vision metadata. This MXF is behaving as any other MXF essence, and is manipulated as a track.

Proceed with the exact same method as described above for importing XML metadata as an Auxiliary track.

The Dolby Vision metadata XML track is now on the timeline:

DoVi

14.2.5. Inspecting Dolby Vision metadata

To control the Dolby Vision metadata:

Go to Command Panel / Metadata / Dynamic to display Dolby Vision metadata:

DoVi

This is also the same when using a Dolby Vision metadata MXF track file, the metadata are listed in the Auxiliary track section:

DoVi

The presence of metadata into the timeline is shown as a color bar on each clip with metadata:

DoVi

If there is no bar (and the dynamic tone mapping is well selected), it means that your content has no metadata or that the values have been reset.

In a case of overlapped tracks, the Control Panel Metadata tab always display the values of the top track.

If you want to be able to read the lower track metadata, you can hide the top track by clicking to the left of the layer control box:

DoVi

14.2.6. Playback of Dolby Vision content with the CMU

The CMU allows to playback Dolby Vision content with metadata for the different targets present in the Dolby Vision metadata file.

All targets available for a Dolby Vision metadata file are available in the Composition Settings / DISPLAYS panel.

choose a Target from the drop-down menu:

DoVi

Target Displays are available in the DISPLAYS panel only if a valid Dolby license is loaded and the CMS workflow is set on Dolby Vision.

You can also activate the dynamic tone mapping display for the viewport:

DoVi

In this case the iCMU is used to display the final result on the image viewport.

14.2.7. Dual output for Dolby Vision

It is possible to output 2 different streams of Dolby Vision content, with or without tone mapping applied:

DoVi

Refer also to Dual Video Output for setting up the video output matrix.

14.2.8. Analyzing clips

Image Characteristics Analysis

The Global Analysis and the Image Characteristics Analysis are two different analyzes. The behavior and the use of the tone mapping are not the same.

It is on the Image Characteristics Analysis made on each clip that the generation of Dolby Vision metadata is based.

The Image Characteristics Analysis is based on the levels of the image and not on the number of pixels of a given value.

Proceed of the analysis

Setting the timeline for an Image Characteristics Analysis of clips is done like for the Global Analysis. Please read the chapter HDR Global Analysis for reference.

Select the clip you need to analyse and open the Composition Analysis panel using the F6 key and select HDR Statistics from the drop-down menu.

If you don’t select any clip, the Global Analysis will be processed instead.

The clip has to be included within the composition range to be analyzed:

DoVi

14.2.9. Editing the metadata

Common editing operations also apply in a Dolby Vision workflow. Nevertheless, some small differences in the behavior of metadata are worth noting.

Adjusting the duration of a clip

It is possible to adjust the duration of the clips, in particular to extend a clip duration with the cursor:

DoVi
Cut a clip

The cuts in Dolby Vision correspond to the change of metadata from one image to another and not from one plan to another. Although Dolby Vision cuts may corroborate with narrative cuts, keep in mind that the reference unit for Dolby Vision is a frame and not a clip.

To cut a clip, right-click on the clip into the timeline to access to the Clip operations menu. By clicking on Cut, the clip will be split at the Playhead position:

DoVi

By cutting a clip with Dolby Vision metadata, the two halves of the clip newly generated after the cut will keep the same metadata. When using the Razor tool, the behavior is the same. Please read the chapter Cutting clips for more information on editing operations.

Join function

The join function is accessible via the Clip operations menu. Place the Playhead on the desired clip to be joined, right-click on the clip and select Join:

DoVi

When joining two clips, the metadata of the first clip are applied to the second one.

Working with multiple video tracks

It is possible to work in Dolby Vision with multiple video tracks.

Because the composition is set in VERSIONING mode, the output of the composition will always be flattened.

The two following schemes will help you understanding how the multiple tracks are rendered:

1. The upper track overlays the gap

DoVi

2. The top track overlays a part of the clip from the bottom track

In this case, the Dolby Vision metadata that are taken into account are ALWAYS the one from the top track:

DoVi
Management of gap

Dolby Vision doesn’t allow any gap in the metadata. When there are gaps between shots on the timeline, you have to fill them with black frames to match the duration of the gap. Once it is done, launch an Image characteristic analysis on it.

Editing of a muxed Dolby Vision file

A muxed Dolby Vision file is an MXF JPEG2000 with the Dolby Vision metadata embedded. This file is being described in a future released SMPTE document, RDD 56 "Track File for JPEG 2000 Codestreams with Time-Synchronous Metadata".

In the timeline, such a file is represented with the metadata colored in white, meaning read-only.

To edit the file, you must first perform a cut:

Import your muxed file into the timeline then right-click on the clip in order to access to the Dolby Vision Metadata operations. Click on Cut:

DoVi

The muxed file is now cut in several clips and the color clip bar has changed from white to yellow, meaning the metadata are now editable.

DoVi
Extract metadata from a muxed Dolby Vision file

To extract the metadata of a muxed Dolby Vision file, follow these steps:

Place the file on the timeline and right-click on the clip to access to the Dolby Vision Metadata operations menu. Then click on Extract:

DoVi

In the window Export Dolby Vision Metadata, select a location, name your XML file and select Dolby Vision MDF as File Type.

Click on OK to validate.

Exporting a Dolby Vision MDF file

It is possible to export a Dolby Vision MDF file from the timeline.

The actual composition range is not taken into account for this operation: all the clips of the timeline will be included in the MDF file.

To export a Dolby Vision MDF file, click the Export button:

DoVi

When the export window opens, choose the path of the file to export. Then after having named it, select in the File Type drop-down menu the Dolby Vision MDF extension in the category EDIT DECISION LIST:

DoVi

Click on *OK*to export the file.

15. DCP QC

ICE offers special tools for a proper QC and validation process of DCP packages.

ICE is able to work with complex packages, including multi CPLs and multi PKLs content as well as supplemental packages.

ICE support INTEROP and SMPTE DCPs.

15.1. Importing a DCP

Importing a DCP into a Project is similar to the process of ingesting a DCP into a DCI compliant server. Each DCP has at least one composition playlist (CPL) for the original version and possibly a number of sub versions, each with its own CPL.

There is different ways to import a DCP package:

  • Drag the DCP (root folder) directly into the Timeline of an existing project.

  • Use the Import function from the Timeline

Once the DCP is imported within a project, all the elements in the timeline are ready for screening, quality control, etc.

15.1.1. Drag & Drop a DCP

Refer to chapter Media Import Drag & Drop

15.1.2. Import a DCP with the IMPORT function

Refer to chapter Media Import Import Function

15.2. Importing an encrypted DCP

When a DPC is encrypted, the first step is to import the package, either by Drag & Drop or using the IMPORT button.

Then proceed to the import of the KDM itself, using IMPORT from the bottom menu.

Browse directories, select the KDM and click OK.

You can filter your search by selecting the type of file:

DCI

16. IMF QC

IMF packages require special tools for a proper QC and validation process. ICE has dedicated tools able to work with complex packages, including multi CPLs content, supplemental packages and sidecar files.

In addition of its own validation tools, ICE directly integrates Photon validation solution.

16.1. Importing an IMF package

There is different ways to import a IMF package into a project:

  1. Drag the IMF (root folder) directly into the Timeline of an existing project.

  2. Use the Import function from the starting menu.

Once the IMF is imported within a composition, all the elements in the timeline are ready for screening, quality control, etc.

16.1.1. Drag & Drop an IMF

Refer to chapter Media Import Drag & Drop

16.1.2. Import an IMF with the IMPORT function

Refer to chapter Import Media Import Function

If the IMF has differential or supplement packages then their additional essences (if any) are imported to the same chosen media folder as the original IMF’s essences.

Each CPL of the package will be a Composition of the Project.

This way the operator may import a multiple CPLs IMF in a single process and easily switch between the different Compositions.

Select the Package Directory
  • Select the IMF to import using the browse button:

DCI

Once you have selected the package folder, and pressed OK, the contents get quickly analyzed and the various elements are then displayed in the exploded directory tree-view. You may scroll through the directory tree and expand or collapse individual elements by clicking on the plus and minus signs to the left of each item:

IMF

Do not modify the folder’s name or contents in any way or you risk destroying the IMF.

In the screen shot above, the various composition playlists are displayed. Each of them contains one or more reels. These reels also contain a video track and optionally audio tracks and subtitles.

The name of each asset is displayed in the left most column while additional metadata is displayed in the remaining columns as available or relative to the asset itself. This may help to quickly identify the contents of a particular IMF and its sub versions before going through the actual process of importing it, especially if the IMF name does not provide the information you need to do so. This may be the case with sub versions or with multi-segments IMFs.

Project Name

This is where you chose a name for your Project that will contain the entire contents of the IMF you wish to import. By default the folder’s name of the IMF will be displayed.

  • To modify the name of the Project, click on the Name text field, enter a new name and press Enter or click outside of the Name text field.

17. MASTER VALIDATION

It is possible to validate a master according to a Compliance Test Plan.

The compliance test plan verifies that the content is valid in terms of standards and or delivery specification.

For now, the following masters can be validated:

  • DCP packages

  • IMF packages

  • XAVC/RDD32 masters

  • ARD/ZDF High Definition Format

  • AS-02 masters

  • AS-07/RDD48 masters

  • AS-10 masters

  • As-11 masters

  • Degeto DI masters

  • Dolby Mezzanine masters

  • MXF Op-1a masters

  • XDCAM/RDD9 masters

The validation of IMF packages with Photon is also possible.

17.1. Validate a CPL

You can perform a validation for a particular CPL in the case of an IMF or a DCP package.

In Command Panel / Compositions, select and right-click the composition and choose Validate to open the Validation panel:

Validate

To validate a package with multiple compositions, select first all the CPLs from the Composition list then right-click and Validate. They all will be included in a single validation report.

The validation of a master consists in the application of several test plans. By default all the tests are selected, and marked as QUEUED, but you can exclude individual tests or test plans by a click in the related check box(es). If a test is excluded, its status becomes N/A.

Validate

You need to define the desired Specification, Type (or application) and Version to test using the related drop-down menus.

Validate

Select EXECUTE to launch the validation

Select QUEUE* to process the validation in background or using TORNADO

*QUEUE is only available when the background rendering is possible or when a TORNADO is connected.

17.2. Validate a Media

Is is also possible to validate a specific media.

In the MEDIA bin, select and right-click the composition and choose Validate to open the Validation panel.

Proceed as stated above to define the type of validation.

17.3. Validation Report

17.3.1. Validation result

Once the validation has been performed, an indication of the status for each test is displayed:

PASSED

the test was passed successfully.

WARNING

the test has failed, but this should not prevent to play or ingest the media / composition.

FAILED

the test has failed

17.3.2. Export of Validation Report

You can export the validation as a PDF or a XML Report.

Once the validation has been completed, click on EXPORT on the bottom left of the panel.

Browse the files to the desired location for saving the report

Choose a name for the file

Use the File Type drop-down menu to select the type of report:

Validate

Validate with OK

17.4. Understanding MT Validation Tests

In this section you will find some detailed explanations of different validation tests performed for DCP and IMF Packages.

17.4.1. DCP Validation

Conformity

This test checks that the all assets including the ASSETMAP follow the VOLINDEX compliance (i.e. strictly either SMPTE or InterOp).

A failure on this tests may prevent ingest or playback. ---
Composition Playlist
Is TKR (Theatre Key Retrieval) Enabled

This test checks that Theatre Key Retrieval (TKR) is enabled for the Composition Playlist(s).

A failure on this test DOES NOT prevent ingest or playback.
Reel & Track Intrinsic Durations Match

This test checks that the reel intrinsic durations and track file intrinsic durations match.

A failure on this test could prevent ingest or playback.
Reel Durations Are Valid

This test checks that the reel durations match the asset durations. A failure on this test could prevent ingest or playback.

Reel Tracks Are Homogeneous

This test checks that all the reels of a Composition Playlist have the same track configuration (i.e. picture/audio/subtitles).

A failure on this test could prevent ingest or playback on some systems.
Reels Have Audio

This test checks that the reels have an audio track.

A failure on this test could prevent ingest or playback.
Reels Have Picture

This test checks that the reels have a picture track.

A failure on this test could prevent ingest or playback.
Track Encryption is Homogeneous

This test checks that the tracks across the reels have a homogeneous encryption status.

A failure on this test should not prevent ingest or playback.
Key Delivery Message
Lifetime Is Valid

This test checks if the lifetime of the Key Delivery Message(s) matches the lifetime of the signing certificates.

A failure on this test will prevent the ingest of the KDM(s).
Metadata Is Valid

This test checks if the metadata in the Key Delivery Message(s) is valid.

A failure on this test will prevent the ingest of the KDM(s).
X509 Signature

This test checks for the presence of the X509 digital signature in the Key Delivery Message(s).

Digital signature is mandatory, if not present the KDM(s) is/are not valid and ingest will fail.
Trackfile(s)
Frame Boundaries Are Valid

This test checks that the first and last frame of the track file can be accessed. A failure on this test could prevent ingest or playback. This test checks that the first and last samples of the track file can be accessed.

A failure on this test could prevent ingest or playback.
Trackfile(s) last at least one second

This test checks that the trackfiles last at least one second.

A failure on this test could prevent correct playback on some old servers.
Picture Characteristics Are Valid

This test checks that the characteristics of the picture trackfiles are valid.

A failure on this test could prevent ingest or playback.
Picture Data Rate Is Valid

This test checks that the bitrate of the picture trackfiles is valid.

A failure on this test could prevent correct playback.
Sound Characteristics Are Valid

This test checks that the characteristics of the sound trackfiles are valid.

A failure on this test could prevent ingest or playback.

Subtitle Font File Resources Are Valid

This test checks that the font file resources are valid (i.e. must be OTF or TTF format).

A failure on this test could prevent ingest or playback.
Subtitle Font File Sizes Are Valid

This test checks that the font file sizes are valid (i.e. do not exceed 640kB for InterOp).

A failure on this test could prevent ingest or playback.

17.4.2. IMF Validation

Composition Playlist
Has Extension Properties

This test checks the presence of the application ExtensionProperties in the Composition Playlist(s).

Has Timecode

This test checks the presence of the timecode information inside the Composition Playlist(s).

Edit Rate Is Homogeneous

This test checks if the EditRate of the resource(s) matches the Edit Rate of the Composition Playlist(s).

Has At Least One Content Version ID

This test checks if at least one ContentVersion instance is present in the Composition Playlist(s).

Has At Least One Main Audio Virtual Track

This test checks if at least one MainAudio virtual track is present in the Composition Playlist(s).

Has Exactly One Main Image Virtual Track

This test checks if one and only one Main Image virtual track is present in the Composition Playlist(s).

Has Homogenenous Virtual Track Durations

This test checks that all the virtual tracks in the Composition Playlist(s) has the exact same duration.

Segment Durations Are Valid

This test checks that the duration of segments is valid. The duration constraints depended on the edit rate. For non-integer edit rates the duration of a segment must be a multiple of 5 frames.

Output Profile List
Composition Playlist Exists In Volume

This test checks that the Composition Playlist referenced by the Output Profile List exists in the volume. A warning indicates that the Composition Playlist is external to this volume.

Has Exactly Once Preset Macro

This test checks that Simple OPLs contain a single Preset Macro instance.

OPLs with more than one Preset Macro are invalid and result in an ingest failure.
Macro Names Are Unique

This test checks that each macro in the Output Profile List(s) has a unique name.

Duplicate names will result in an ingest failure.
Preset Macro Is Defined

This test checks that Preset Macro(s) use a predefined URI known to the local host.

Unknown URIs will not trigger any preset macro processing.
X509 Signature

This test checks for the presence of the X509 digital signature in the Output Profile Lists(s).

Digital signature is optional, unless the assets are encrypted.
XML Schema

This test checks the XML schema of the Output Profile List file(s).

An error in the XML schema validation may result in an ingest failure.
Trackfile(s)
Essence Boundaries Are Valid

This test checks that the first and last frame/sample of the of a track file can be accessed.

A failure on this test could prevent ingest or playback.
Image Characteristics

This test checks the image characteristics of the track files against the the Application Specification constraints.

A failure on this test may prevent ingest and/or playback on some systems.
Asset Map
Contains All Volume Files

This test checks if all the files contained in the volume are referenced in the ASSETMAP file.

A volume that contains non referenced files might fail to ingest.
Exists

This test checks the presence of the ASSETMAP file at the root directory of the volume.

A package cannot be opened without this file.
File Names

This test checks that all the files listed in the ASSETMAP have a name that is compliant with the restrictions listed in ST429-9:2014 Annex A. These restrictions imply that path segments and file name do not contain other characters than: {a..z, A..Z, ., _, -}.

File names that does not follow the rules listed in ST429-9:2014 Annex A may fail to ingest and/or prevent playback.
File Sizes

This test checks that all the files listed in the ASSETMAP have a size that exactly matches the stored size.

A file with a size different from the one found in the ASSETMAP is probably corrupted and may fail to ingest.

17.5. Photon

Photon is an open source tool for parsing, interpreting and validating an Interoperable Master Package. This validation test is a supplemental tool to check the IMP.

Photon v 4.8 is currently supported.

Running Photon requires Java JRE v 1.8 or higher. Please refer to https://github.com/Netflix/photon for more information.

17.5.1. Validate a content using Photon

If the content to validate is an IMF package, the option Photon will be enabled when doing a right-click on the Composition:

Validate

Select EXECUTE to launch the validation

When finished, the result of the validation is displayed in the Photon Validation panel:

Validate

17.5.2. Export a Photon report

You can export the validation as a PDF or a XML Report.

Once the validation has been completed, click on EXPORT on the bottom left of the panel.

Browse the files to the desired location for saving the .TXT report

Choose a name for the file

Validate with OK

APPENDICES

1. Console

The Console tab in the Control Panel displays information about the image processing pipeline performances.

Different gauges display the buffer usages of the key devices while performing the playback of a media.

Storage

Usage of the media storage for the content currently on the timeline
Green: data read and available for GPU processing
Red: buffers working

GPU

Usage of the GPU buffers
Red: buffers ready to be transferred from memory to GPU
Yellow: buffers processing Green: buffers available

Video

Usage of the buffers for transfers between GPU and Video IO card
Red: buffers ready to transfer
Green: buffers finished and available

Device

Usage of the buffers transferred by the Video IO card
If more than 40% of the buffers are red, drop frames may occur

Drop

display information in the case of drop frames

2. Where to find certificates for ICE

2.1. Public Certificate containing its Public Key and Digital Signature

Name

ICE.cert.sha256.crt

Location

C:\ProgramData\Marquise Technologies\ICE\certificates

Purpose

This file contains ICE’s public key and digital signature. It must to be sent to any DCI mastering station that needs to create a secure DCP for use by ICE.

2.2. Public Certificate Chain

Name

ICE.chain.sha256.pem

Location

C:\ProgramData\Marquise Technologies\ICE\certificates

Purpose

This file contains the entire certificate chain of digital signatures of the ICE. It is required if the certificate needs to be verified. It may be distributed freely in accompaniment with the Public Leaf Certificate. .pem = Privacy-enhanced Electronic Mail.

3. Input File Formats Support

3.1. Compositions

Format Name File Extension(s)

Advanced Authoring Format

.aaf

D-Cinema Composition Playlist

.xml

EDL CMX 3600

.edl

Final Cut Pro

.xml

Final Cut Pro X

.fcpxml

IMF Composition Playlist

.edl

3.2. Camera Files

Camera Models Format Names

Apple

iPhone

h.264 QT MOV

ARRI

Alexa (B6W, LF, SXR, SXT, XR, XT, 65)
Alexa Mini LF
Amira

ARRIRAW (incl. 4:3), ARRIRAW MXF
ProRes MXF, ProRes QT MOV
ARRIRAW HDE (Codex)

BlackMagic

Cinema, Pocket Cinema, URSA

Blackmagic RAW
Cinema DNG
ProRes QT MOV

Canon

EOS 1D / 5D / 7D
C100 / C200 / C300
C500 / C700 / C700FF

h.264 QT MOV
h.264 MXF
Canon XF-AVC
Canon RAW CRM + RMF

GoPro

Any

h.264 MP4

Nikon

DSLR cameras

NEF DSLR RAW

Panasonic

Varicam 35
Eva-1

Panasonic VRW RAW
Panasonic P2 MXF
AVC-ULTRA
ProRes QT MOV
h.264 QT MOV

Phantom

4K Flex
HD Gold
Miro

.cine RAW

RED

Dragon
Epic, Epic Monochrome
Helium
Komodo 6K
Monstro
Scarlet
Weapon

REDCODE RAW (R3D)

SONY

F65, F55, F5
NEXFS 700
Venice/X-OCN
XDCam EX
DSLR cameras

SonyRAW
Sony Simple Studio Profile (SStP) MP4
Sony XDCam EX MXF
Sony XDCam EX MP4
Sony XAVC
ARW DSLR RAW

3.3. Image Sequences

Format Name File Extension(s) Comment

Cineon

.cin

DPX

.dpx

See DPX Support

Targa

.tga

TIFF

.tif, .tiff

ARRI

.ari

SGI

.sgi, .rgb

JPEG

.jpg, .jpeg

JPEG2000 (J2K)

.j2k, .j2c

JPEG XS

.jxs

JPEG High Throughput

.jph

BMP

.bmp

PNG

.png

Photoshop PSD

.psd

Import composite image only.

OpenEXR

.exr

ERIMovie

.eri

Chyron

.chr

Media Logic Artisan

.art

Rendition

.6rn

DNG

.dng

Weisscam RAW

.fhgW*

Canon RAW

.rmf

Panasonic VRAW

.vrw

3.3.1. DPX support

8 bit UYVY

10 bit YUV 4:2:2 b.e. V2

12 bit RGB b.e.

8 bit YUVA 4:2:2:4

10 bit YUV 4:2:2 Cineon b.e.

12 bit RGB b.e. V2

8 bit YUV 4:2:2 b.e. V2

10 bit YUV 4:4:4 b.e. V2

12 bit RGB l.e. V2

8 bit YUV 4:2:2 l.e. V2

10 bit RGB Cineon b.e.

8 bit YUV 4:4:4 b.e. V2

10 bit RGBA

16 bit RGB Cineon b.e.

8 bit RGB b.e. V2

8 bit RGB l.e. V2

DPX Monochrome

8 bit RGBA

DPX Alpha

b.e. = big endian / l.e. = little endian

3.4. Video

Format Name File Extension(s)

Advanced Systems Format (Windows Media Video)

.wmv

AS-02

.mxf

AS-10

.mxf

AS-11 DPP

.mxf

AS-11 D10

.mxf

ARD/ZDF/HDF

.mxf

AVI

.avi

Avid MXF

.mxf

DV

.dv

FlashVideo

.flv

GXF

.mxf

D10

.mxf

RDD9

.mxf

Matroska

.mkv

MPEG-2

.mpg, .mpeg

MPEG-4

.mp4

MPEG-TS

.mts

MPEG-TS BDAV

.m2ts

MXF OP-Atom

.mxf

MXF OP-1a

.mxf

Motion JPEG2000

.mj2

PhantomCINE

.cine

QuickTime

.mov

R3D

.r3d

WebM

.webm

3.5. Audio

Format Name File Extension(s)

Audio Interchange File Format (AIFF)

.aif, .aiff

Waveform Audio File Format (WAVE)

.wav

Free Lossless Audio Codec (FLAC)

.flac

Dolby Atmos

.atmos

Digital Theater Systems (DTS-X)

.dts

3.6. Elementary Streams

Format Name File Extension(s)

H.265 (HEVC)

.h265

3.7. Subtitles & Captions

Format Name File Extension(s) Comments

Cheetah Closed Captions

.cap

CineCanvas

.xml

Digital Cinema XML

.xml

EBU STL

.stl

EEG 708 Captions

.xml

Scenarist Closed Captions

.scc

Screen Electronics PAC

.pac

Sony BDN

.xml, .png, .tif

Spruce STL

.stl

SubRip

.srt

SubViewer

.sub

TTML

.xml, .ttml

Apple iTunes Timed Text

.itt

Common File Format Timed Text

.xml

DFXP

.xml, .dfxp

EBU-TT-D

.xml

Internet Media Subtitles and Captions (IMSC)

.xml, .ttml

Support for v1. and v1.01. Animation not supported.

SMPTETT

.xml

WebVTT

.vtt

3.8. IMF Applications

The following IMF packages can be imported:

  • Application 2, 2e (Studio Profile)

  • Application 4 (Cinema Mezzanine)

  • Application 5 (ACES)

  • IMF ProRes RDD45

  • RDD 59-1 IMF Application DPP (ProRes)

  • RDD 59-2 IMF Application DPP (JPEG2000)

Supported JPEG2000 profiles:

  • Broadcast profiles, up to BPC L7

  • IMF profiles, up to 16 bit

4. Keyboard Shortcuts

Below is a recapitulation of the available Keyboards Shortcuts for ICE.

TOPIC MODIFIER KEY DESCRIPTION

NAVIGATION

F1

Go to Project

NAVIGATION

F6

Go to Composition Analysis

NAVIGATION

Alt+F6

Go to Video Pipeline Diagram

NAVIGATION

F7

Go to Storyboard

NAVIGATION

F10

Go to Timeline

NAVIGATION

F11

Switch Calibrate/Timeline

NAVIGATION

F12

About

NAVIGATION

Esc

Escape from current operation

NAVIGATION

H

Help

NAVIGATION

Page Up

Show Timeline

NAVIGATION

Page Down

Hide Timeline

NAVIGATION

Ctrl+Q

Exit Project

NAVIGATION

Alt+Ctrl+Esc

Minimize

CLIP MANAGEMENT

Ctrl+Shift+P

Show Clip Properties

OTHER

Ctrl+F12

Take Snapshot

AUDIO

Alt+Shift+A

Show/Hide Audio Mixer

DISPLAY

Shift+H

Show/Hide Histogram

DISPLAY

Shift+V

Show/Hide Vectorscope

DISPLAY

Shift+W

Show/Hide Waveform

DISPLAY

Shift+A

Show/Hide Audio levels

DISPLAY

Shift+B

Show/Hide Bitrate

DISPLAY

Shift+N

Show/Hide Luminance Meter

DISPLAY

Shift+D

Show/Hide DMCVT Metadata

DISPLAY

Shift+M

Show/Hide Dynamic Metadata

DISPLAY

Shift+P

Show/Hide PSNR Meter

DISPLAY

Alt+Z

Show/Hide Zebra

DISPLAY

Alt+Q

Show/Hide Dynamic Mapping

DISPLAY

Alt+T

Change time display

DISPLAY

F

Fit Viewport

DISPLAY

Shift+F

Toggle Full Screen Viewport

DISPLAY

C

Center Viewport

DISPLAY

Alt+C

Toggle Camera View

DISPLAY

Alt+F

Toggle Safe Frames

DISPLAY

Alt+A

Toggle Axis View

DISPLAY

Alt+K

Show/Hide Color Picker Info

DISPLAY

Alt+Shift+K

Toggle Color Picker Display Modes

DISPLAY

Alt+J

Show/Hide Information

DISPLAY

Alt+1

Toggle Red Channel

DISPLAY

Alt+2

Toggle Green Channel

DISPLAY

Alt+3

Toggle Blue Channel

DISPLAY

Alt+4

Toggle Alpha Channel

DISPLAY

Alt+5

Toggle Mask

DISPLAY

Alt+B

Toggle Active Area

DISPLAY

Alt+S

Toggle Mono/Stereo

DISPLAY

Alt+D

Toggle Left/Right Display

DISPLAY

Alt+G

Toggle Geometry Display

DISPLAY

X

Toggle Dual Viewport

DISPLAY

Alt+X

Toggle Single/Dual Viewport

DISPLAY

G

Lock Dual Viewport

LUT

9

Toggle LUT Computer Display

LUT

0

Toggle LUT Mastering Display

TIMELINE

Ctrl+Shift+F

Fit Timeline

TIMELINE

Alt+Ctrl+F

Fit duration

TIMELINE

Alt+Ctrl+Shift+F

Fit All durations

TIMELINE

Ctrl+Shift+C

Center Timeline

TIMELINE

Ctrl++

Zoom In Timeline

TIMELINE

Ctrl+-

Zoom Out Timeline

TIMELINE

Alt+H

Toggle Clip Handles

EDIT

Ctrl+Z

Undo

EDIT

Ctrl+Y

Redo

EDIT

Ctrl+A

Select all Clips

EDIT

Ctrl+D

Deselect All Clips

EDIT

Del

Delete Selected Clips

EDIT

Backspace

Ripple Delete Selected Clips

EDIT

I

Mark In

EDIT

O

Mark Out

EDIT

Alt+I

Clear Mark In

EDIT

Alt+O

Clear Mark Out

EDIT

Ctrl+Shift+I

Set Composition In

EDIT

Ctrl+Shift+O

Set Composition Out

EDIT

Alt+M

Clear Mark points

EDIT

Ctrl+K

Razor at time marker

EDIT

Ctrl+L

Lift marked region

EDIT

Ctrl+E

Extract marked region

EDIT

Ctrl+J

Join

EDIT

Insert

Toggle Insert/Replace Mode

EDIT

Ctrl+C

Copy

EDIT

Ctrl+V

Paste

EDIT

S

Select Current Clip

EDIT

Ctrl+Up

Activate Layer Above

EDIT

Ctrl+Down

Activate Layer Below

EDIT

Ctrl+Shift+L

Lock/Unlock Active Layer

EDIT

Ctrl+Shift+E

Enable/Disable Active layer

EDIT

T

Insert Dissolve

EDIT

Y

Insert from Source

EDIT

Ctrl+Shift+A

Insert Audio layer

EDIT

Ctrl+Shift+V

Insert Video Layer

EDIT

Ctrl+Shift+W

Merge Stereo Video Layers

EDIT

Alt+Ctrl+V

Paste Layered

EDIT

W

Toggle Snap

EDIT

Alt+Left

Trim In -1 frame

EDIT

Alt+Right

Trim In +1 frame

EDIT

Alt+Shift+Left

Trim Out -1 frame

EDIT

Alt+Shift+Right

Trim Out +1 frame

EDIT

Alt+Ctrl+Left

Slip -1 frame

EDIT

Alt+Ctrl+Right

Slip +1 frame

EDIT

Alt+Up

Slide -1 frame

EDIT

Alt+Down

Slide +1 frame

TRANSPORT

J

J Pressed

TRANSPORT

J

J Released

TRANSPORT

K

K Pressed

TRANSPORT

K

K Released

TRANSPORT

L

L Pressed

TRANSPORT

L

L Released

TRANSPORT

Space

Play Forwards

TRANSPORT

Ctrl+Space

Play Backwards

TRANSPORT

Alt+Space

Play Forwards Marked Range

TRANSPORT

Alt+Ctrl+Space

Play Backwards Marked Range

TRANSPORT

Shift+I

Go to IN point

TRANSPORT

Shift+O

Go to OUT Point

TRANSPORT

Left

Previous Frame

TRANSPORT

Right

Next Frame

TRANSPORT

Shift+Left

Previous 10 Frames

TRANSPORT

Shift+Right

Next 10 frames

TRANSPORT

Ctrl+Left

Previous 100 Frames

TRANSPORT

Ctrl+Right

Next 100 Frames

TRANSPORT

Ctrl+Shift+Left

Go to Previous Cut

TRANSPORT

Ctrl+Shift+Right

Go to Next Cut

TRANSPORT

Home

Go to First Frame of the Composition

TRANSPORT

End

Go to Last Frame of the Composition

TRANSPORT

Ctrl+P

Toggle Playback Mode

TRANSPORT

Shift+Home

Go to Layer Start

TRANSPORT

Shift+Eend

Go to Layer End

TRANSPORT

Ctrl+Home

Go to Clip Start

TRANSPORT

Ctrl+End

Go to Clip End

TRANSPORT

Alt+Page Up

Previous Audio Cut

TRANSPORT

Alt+Page Down

Next Audio Cut

TRANSPORT

Shift+Page Up

Previous Subtitle

TRANSPORT

Shift+Page Down

Next Subtitle

LOCATOR

P

Go to Next Locator

LOCATOR

Alt+P

Go to Previous Locator

MARKERS

Alt+U

Previous Composition Marker

MARKERS

Shift+U

Next Composition Marker

MARKERS

Alt+CTRL+M

Previous Segment Marker

MARKERS

Ctrl+Shift+M

Next Segment Marker

MARKERS

Ctrl+M

Add Composition Marker

MARKERS

Alt+Shift+M

Add Segment Marker

STILL STORE

8

Enter/Toggle Compare Mode

STILL STORE

Alt+8

Exit Compare Mode

STILL STORE

Ctrl+8

Copy Frame to Still Store

STILL STORE

Ctrl+Shift+8

Toggle Comparator Visibility

EVENT VIEWER

E

Show/Hide Event Viewer

REELS

Alt+Ctrl+Page Up

Go to Previous reel

REELS

Alt+Ctrl+Page Down

Go to Next reel

5. Third-party Licenses

Marquise Technologies integrates third-party technology into its software solutions. Some of the below listed technology is available in options only.

The end-user is responsible for complying with any and all third-party terms that apply. Access to third-party software is provided for convenience only, and Marquise Technologies has no responsibility for such third-party software.

5.1. ARRIRAW SDK

The ARRIRAW SDK is provided under the 2020 ARRI Partner Program Agreement.

Copyright © ARRI AG.

5.2. Avid DNxHD & DNxHR

Avid formats are provided by the Avid Media Toolkit SDK under Avid DNxHD Unified License Agreement.

Copyright © Avid Technology, Inc.

5.3. Dolby Technologies

Dolby VisionTM is provided under the Dolby Vision Content Solutions System Agreement.

Dolby AtmosTM is provided under the Dolby Atmos Content Solutions System Agreement.

Copyright: Dolby, Dolby Vision, Dolby Atmos and the double-D symbol are registered trademarks of Dolby Laboratories Licensing Corporation.

Confidential unpublished works. Copyright 2021 Dolby Laboratories. All rights reserved.

5.4. DVO tools

DVO tools are provided under Digital Vision OEM License agreement.

Copyright © Digital Vision A.B.

5.5. Nexguard

NexGuard Pre‐release Video and Audio Watermark Embedder SDK is provided under the NexGuard Pre‐release Video and Audio Watermark Embedder Software Development License Agreement.

Copyright © Nagravision S.A.

ICE API DOCUMENTATION

Marquise Technologies Released 10.03.22 :encoding: utf-8 :lang: en :toc: left :numbered: :experimental:

1. Introduction

ICE can be used as a system command by providing parameters via the Command Line Interface (CLI).

The CLI syntax can be used to start the ICE process, create a project or composition, import media, QC reports and more.

Only one instance of ICE can run at the same time. Any attempt to start another instance will redirect the command and parameters to the existing instance.

2. CLI Syntax

ICE can either be started via the CLI with specific parameters, or be sent commands via the CLI if the process is already running.

The CLI syntax always takes one of the two following forms:

2.1. ICE is not running

ice.exe	{context} <parameter> [value] (option)

2.2. ICE is already running

ice.exe <parameter> [value] (option)

3. Operational Context

The {context} argument can be one of the following defined keywords:

3.1. Autostart Context

The {autostart} context will launch the ICE process and bypass the project creation user interface.

  • A project name is required, provided via the parameter -p.

  • An optional composition (playlist) name can be provided via the parameter -c.

Request example #1:
ice.exe autostart -p "mysession"
Result

ICE is started and a project called "mysession" is created and the process switches to the main player interface.

if the project already exists, it will be loaded.

Request example #2:
ice.exe autostart -p "mysession" -c "myplaylist"
Result

This example is similar to #1 but will also load or create the composition (playlist) "myplaylist" and set it as the current playlist for playback

4. Importing Media

Media can be imported in ICE via the -i parameter followed by the absolute path for the media file name or package directory (DCP, IMF). For file sequences the full path of the files with the frame digits replaced by # must be provided e.g. E:\MEDIA\SEQUENCE\test_sequence_.dpx.

Request example #1:
ice.exe -i "E:\MEDIA\test.mov"
Result

ICE is already started and will import the file "E:\MEDIA\test.mov".
In addition the file is loaded ready for playback.

Request example #2:
ice.exe autostart -p "mysession" -i "E:\MEDIA\test.mov"
Result

Similar to example #1 but ICE is started and the project "mysession" is created before importing the media file "E:\MEDIA\test.mov"

Request example #3:
ice.exe autostart -p "mysession" -i "E:\MEDIA\SEQUENCE\test_sequence_######.dpx"
Result

ICE is started and will import the DPX image sequence "E:\MEDIA\SEQUENCE\test_sequence_.dpx" and loads it ready for playback.

Request example #4:
ice.exe autostart -p "mysession" -i "E:\MEDIA\IMF\IMF_PACKAGE"
Result

ICE is started and will import the IMF package "E:\MEDIA\IMF\IMF_PACKAGE" and loads it ready for playback.

5. Importing a QC Report

ICE can import a QC Report via the -qcreport parameter.

Request example #1:
ice.exe -i "E:\MEDIA\test.mov" -qcreport "F:\REPORTS\xml\qcreport.xml"
Result

ICE is already started and will import the file "E:\MEDIA\test.mov", the "F:\REPORTS\xml\qcreport.xml" is also loaded.
In addition the media file is loaded ready for playback with the QC Report markers/locators loaded.

6. Setting the playhead postion

The playhead’s position can be provided via the -playhead parameter.

The value of the parameter can be a frame number or a timecode:

Request example #1:
ice.exe -i "E:\MEDIA\test.mov" -playhead 3677
Result

ICE will import the "E:\MEDIA\test.mov" media file, load it for playback and set the playhead position at the composition’s frame 3677.

Request example #2:
ice.exe -i "E:\MEDIA\test.mov" -playhead "09:58:30:00"
Result

ICE will import the "E:\MEDIA\test.mov" media file, load it for playback and set the playhead position at the composition’s timecode 09:58:30:00.

In both examples the provided values are absolute and do not depend on the media’s start point. ICE always loads the media at the start time existing in the files header information but the provided position is absolute to the composition’s duration.

7. Setting a mark-in mark-out range

The mark-in position can be provided via the -markin parameter and the mark-out via the -markout one.

The value of the parameters can be a frame number or a timecode:

Request example #1:
ice.exe -i "E:\MEDIA\test.mov" -markin 1000 -markout 1200
Result

ICE will import the "E:\MEDIA\test.mov" media file, load it for playback and set a playback range starting at the composition’s frame 100 and ending at frame 1200.

Request example #2:
ice.exe -i "E:\MEDIA\test.mov" -markin "01:02:30:00" -markout "01:03:10:00"
Result

ICE will import the "E:\MEDIA\test.mov" media file, load it for playback and set a playback range starting at the composition’s timecode 01:02:30:00 and ending at timecode 01:03:10:00.

Once the ICE started and the media loaded the playback range defined by the markin and markout parameters can be playdback by pressing ALT + SPACEBAR or ALT + play button

In both examples the provided values are absolute and do not depend on the media’s start point. ICE always loads the media at the start time existing in the files header information but the provided position is absolute to the composition’s duration.

8. Starting playback automatically

To start playing back the media automatically can be done by providing the -autoplay parameter.

Request example #1:
ice.exe autostart -p "default" -autoplay -i "E:\MEDIA\test.mov"
Result

ICE is started and the project "default" is created, the media file "E:\MEDIA\test.mov" is imported and the playback is started automatically.

Request example #2:
ice.exe -i "E:\MEDIA\test.mov" -markin "01:02:30:00" -markout "01:03:10:00" -autoplay
Result

ICE will import the "E:\MEDIA\test.mov" media file, load it for playback, set a playback range starting at the composition’s timecode 01:02:30:00 and ending at timecode 01:03:10:00 then starts playing back the defined range.

In the second example the provided values are absolute and do not depend on the media’s start point. ICE always loads the media at the start time existing in the files header information but the provided position is absolute to the composition’s duration.

9. Accessing ICE via a web browser or web application

Installing ICE will register custom URI schemes depending on the application’s version. They can be accessed via a web browser by calling ice://<command-parameters> for ICE and ice-v://<command-parameters> or ice-v-plus://<command-parameters> for ICE-V or ICE-V+.

Request example #1:
ice-v://autostart -p "mysession" -i "E:\MEDIA\test.mov"
Result

Accessing the URL via a web browser will start ICE-V then create the project "mysession" before importing the media file "E:\MEDIA\test.mov"

FOR MORE INFORMATION PLEASE CONNECT TO OUR SUPPORT PORTAL: https://marquise-tech.cloud/