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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:

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

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.

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

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.

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.

In the System module or the Timeline modules, different panels are available. They are all have the same behavior:

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.

A lot of keyboard shortcuts are available in ICE.

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

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

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.

→ 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

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

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.

You can set here some directories by default that will be valid for all projects. Those directories can be modified by project as well, in the Project Settings.

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.

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:

This sections defines the default settings for Dolby technologies.

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.

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

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.

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.

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.

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.

→ Choose if your project is a Stereo3D project or a normal 2D one. By default, the project is set on Normal 2D.

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

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

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

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.

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

Defines a directory to save the snapshots.

See also the chapter Snapshots.

Modifies the default naming convention for the snapshots.

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

By default, the software is set on Automatic for the standard. It means that the resolution and frame rate of the composition on the timeline is used as video output parameters.

In some cases, you may want to output a different resolution than the composition, that you can select from the dropdown menu:

Allows you to manually set an Interlaced output, or to use automatically the parameters of the composition on the timeline.

When available from the video IO board, selecting this option output the signal using HDMI as well.

Both SDI and HDMI output can be done in parallel.

Enable this option to send the Dolby Vision metadata over HDMI to the consummer TV (tunneling). See Dolby Vision for more information.

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.

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

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.

→ 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.

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

→ 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.

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:

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

The operator can display the media assets using different views :

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

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

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

→ A double click on a media will automatically load the content on the record timeline.
Alternatively you can open the media operations menu with a right click and select Load in Record.

→ A Ctrl+ double click on a media will automatically load the content on the source timeline.
Alternatively you can open the media operations menu with a right click and select Load in Source..

→ 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.

When performing a right-click on a media clip in the Media bin you access the Media Operations menu offering several options and shortcuts.

In order to playback stand alone files together with a video, for example external subtitles or audio files, it is possible to add them in the existing composition:

→ From the Media bin, right-click on the file and select Add Media Track: a new track with the media has been created on the timeline.

If the standalone file is a Dolby Vision metadata file it works the same.
Refers to Dolby Vision for more information.

Media can be converted to a different frame rate, audio configuration, image resolution and color space. This can be done manually in the Composition settings panel, but also automatically using shortcuts.

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:

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

Your media is now relinked.

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

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:

→ Alternatively press Ctrl+S and type a name for the composition:

The new composition is then available in the list.

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

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

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.

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

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

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.

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:

Read more on Compositions

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

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

Display guide lines on the Image Viewport:

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

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

→ Select the source media from the Media Bin 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.

Once a media or a composition has been loaded in the Source Viewport, it is automatically saved in the project, and will be recovered when the Dual Vieport mode is activated manually, unless it is replaced by another media.

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

In Dual Viewport mode, the Active Viewport is outlined in grey.

Every other interface elements, like metadata inspector, scopes, timeline, as well as the video output in single mode are related to the Active Viewport.

→ Click in the other Viewport to change the 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 whatever Viewport is active. Refer to chapter Viewport Manipulations.

It is possible to synchronize the timeline of the Source Viewport with the one of the Record Viewport to playback them together.

→ Position the PlayHead on the desired location in both timelines and click LOCK.

→ Desactivate LOCK to unlock the Viewports.

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

→ Once media are loaded on both viewports, click the Gang button G.

There is the possibility to compare the Record viewport and the Source Viewport together.

→ To activate the Comparator mode, click C on the timeline or use the keyboard shortcut 8 (do not use numpad):

→ Use 8 to toggle invert source / viewport image side, and to toggle vertical or horizontal comparator.

→ To exit the Comparator mode, deselect C on the timeline or use the keyboard shortcut Alt+8 (do not use numpad).

When selecting test pattern, the second column displays a choice of standard generators:

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

See Playback information

→ Undo and Redo are also in direct access on 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.

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-, or use the mouse’s scroll button if avaialble.

→ To toggle to maximum Zoom size, use 7 key.

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.

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

In Zoom mode, you can see the width of a frame at the playhead location, according to the level of zoom.

Maximum Zoom size of the playhead:

→ 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.

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

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:

Timebase display in Feet + Frame:

Timebase display in Frame Number:

Some operations are available for each type of Track.

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

:: :: :: . /Down:: :: . :: You can split your audio configuration to mono or stereo tracks

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

Active Tracks are labelled in blue:

In order to quickly manipulate the Tracks, 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:

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

The Track Control Box also displays important icons:

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

Composition duration is displayed in dark green over the timescale:

By default, the composition is set on 24h.

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

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 background to display the TimeLine Hot Box and select COMPOSITION. The Hotbox provides you with short cuts to fit the different type of Tracks of the composition.

→ To create a new composition in an empty timeline, use Ctrl+N, or the icon from the Compositions bin.

The New Composition panel allows you to define the different properties of the composition:

The compositions are automatically saved when you leave the project.

→ to manually save a composition, use Ctrl+S.

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

→ Right-click on the desired composition and chose Convert…​ in the Composition Operations menu:

→ To simply copy the composition in a new timeline, use Duplicate in the Composition Operations menu.

This function is particularly useful when working from an IMF or a DCP in order not to modify the original timeline.

By default the duplicated composition has the same name + copy than the original composition. It can of course be renamed.

Composition Settings are accessible from the Command Panel:

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

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

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.

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.

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.

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.

→ 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.

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

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

→ 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.

→ 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:

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.

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.

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:

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 and move the marker to the new position.

→ 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 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.

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

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

You can move a Locator directly in the timeline:

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

You can navigate from Reel to Reel using different options:

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

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

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

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:

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

To route the audio channels:

→ In the Command Panel, select TOOLS then ROUTING

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:

→ 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:

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

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:

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.

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:

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

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

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

A new layer has been added to the timeline:

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

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

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

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:

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:

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).

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

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 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.

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.

→ 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.

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

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

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:

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.

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

→ Go to COMMAND PANEL  TOOLS  SUBTITLES  TEXT

→ Double click on a timecode REC IN or REC OUT :

On the Viewport you can activate different Guides in order to verify the placement of a subtitle on the image:

→ Display the Safe Frame guides using Alt+F.
Parameters for the Safe frame guide can be adjusted in COMMAND PANEL  SETTINGS  FORMAT

→ Display a grid on the Viewport using Alt+G.

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 COMMAND PANEL  TOOLS  SUBTITLES  FONT

If a font is present in the subtitle, it’s name will automatically appear under the tab FONT in white color.

If the font has been not properly loaded, no font will be listed or the font will be displayed in red.

In addition, the Console will display an error message:

→ Double-click on the 1 digit or the font label to open the Font Library.

→ Select the desired font into the list and click on OK to validate your selection. Fonts present in this list are based on the OS font folder.

The Color Management System defines the working color space of the composition (also referred as Workflow), regardless of the source color space or the desired output color space.

There is 3 types of color management systems available with ICE:

You can select them in the Command Panel, CMS, System:

Using the Native CMS, the media is displayed as is and no color space conversion is done on the composition.

The native CMS is particularly recommended when the media is already in the right color space and finalized after the grading phase.

With this mode it is however important to set the Worklfow accordingly, in order to have the full tool set of image analysis in line with the content.

The Marquise Technologies' Color Management System is a proprietary color management system allowing state of the art color conversions.

For more precision and reliability, MTCMS uses industry standards to compute in 32 bit-float on-the-fly the exact values for every possible color. No interpolation is done when using a LUT.

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.

See Working in ACES

Working in MTCMS requires to define the colorimetric information of the sources placed on the timeline for reference for all operations of color conversion simulation.
Source settings can be managed individually by clip.

ICE parse the existing metadata of the media, so when a color metadata is 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 at the bottom right of the timeline (or press F9)

→ Select the clip(s) in the timeline

→ In the Source tab, select the source parameters.

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

ICE always computes in FULL range internally meaning that:

When no information of range is present in the media, the FULL range will be set by default, in order to avoid any additional compression if the source is indeed encoded as FULL content but with no metadata about it.

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

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:

The Target Display allows to select the way the content will be displayed in ACES CMS or for Dolby Vision workflows.

ICE allows to load a Look Up Table for the Viewport. You can select one in the drop-down menu.

Different workflows are avaialble when working in ACES, and it must be chosen first in order to have access to the right paramters.

When selecting the ACES CMS, ICE Prime inspects the media metadata to automatically set the right IDT if that metadata is present.

However it is always possible to modify manually the IDT:

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

In ACES system, you need to choose an Output Device Transform to display your content accordingly.

However, the ODT are also depending of the workflow you have chosen.

The ODTs are chosen in the Displays / Target Display drop down menu.

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.

Options

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.

Options

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.

Legend

Options

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.

Options

This tool offers different modes in order to inspect the image.

→ to activate the Zebra, use Alt+Z or press Z on the user interface. By default, the Zebra patterning is set on Signal Range mode.

→ to toggle between the different Zebra modes, select them in the Command Panel / Tools / Zebra:

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.

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

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

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

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

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

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

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".

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

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

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

→ 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.

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

→ Click on ANALYSE to launch the analysis.

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.

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.

You can import a QC report using drag & drop: drop the report in the application window.

→ To navigate from error to error, open the Control Panel / Tools / QC Report:

→ 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.

To start working in HDR, you need first to define the correct workflow in the COMMAND PANEL  SETTINGS  CMS.

According to the CMS System chosen, Native or MTCMS, more operations will be available.

When a HDR content is opened in the Timeline, and recognized as is based on the file’s metadata, an HDR logo (HDR10, HLG or Dolby Vision) will be displayed on the top left of the Viewport:

This logo will also be updated according to the CMS Workflow chosen.

For more information about the CMS, refers to Color Management.

When the metadata of the Max FALL and Max CLL are present in the media, they are displayed in the CMS page.

However, these metadata can be wrong or missing.

If you have the information, then you can edit them:

→ Double click on the Max FALL or Max CLL value to modify it and validate with ENTER.

You can also perform a HDR Global Analysis for calculating these values.

It is possible to manage the subtitle’s luminance independently from the one of the video track.

This is managed in the CMS page under Timed Text Color Space:

By default, a factor of 4 is applied as gain (e.g. a 100 nits subtitle will appear at 400 nits.), but it can be modified using the Timed Text Gain’s slider.

HDR metadata present in the file can be verified using the Metadata Inspector available in COMMAND PANEL  METADATA.

When setting an HDR workflow in the CMS, the video scopes automatically adapt their scale according to the color space chosen.

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.

→ COMMAND PANEL  SETTINGS  FORMAT, in the Active Area section select the right frame Aspect ratio to define the active area of the image.

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

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:

→ Select the Source Color Space corresponding to the content and launch the analysis by clicking on the Analyze button:

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:

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 page:

→ 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:

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:

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).

The output of Dolby Vision metadata through HDMI is done using the AJA Kona5 video IO card.

→ To allow the sending of the Dolby Vision metadata directly to the consummer TV, the HDMI and the Dolby Vision options must be enabled in the Video Output Settings.

The Composition settings need to be carefully chosen for Dolby Vision content.

They are set in COMMAND PANEL  SETTINGS.

→ Whatever the CMS chosen, select Dolby Vision in the Workflow drop-down menu.

→ Select the Primaries. It can be either BT.2020 or P3D65.

→ Select the metadata version in the section Dynamic Tone Mapping:

→ Setup the Mastering Display for Dolby Vision in the COMMAND PANEL  SETTINGS  DISPLAYS

For more information, please refer to the chapter Mastering Display.

You can import media with embedded Dolby Vision metadata like any other file.

The metadata will be detected and the CMS settings automatically set accordingly.

In addition, the video track displays a white line representing the embedded metadata.

Marquise Technologies' solutions support the two variations of Dolby Vision metadata:

It is possible to "cut" the video track or the metadata track into sections corresponding to the metadata in order to facilitate the navigation and the QC of the file.

→ Right-click on the video track or the Dolby Vision metadata track on the timeline to display the Clip Operations Menu and select Dolby Vision Metadata / Cut:

This operation will perform an analysis of the metadata and display the metadata sections as cuts on the video track, easier to navigate from cut to cut or using the Events viewer.

There is different ways to inspect Dolby Vision metadata.

In the COMMAND PANEL  METADATA the Dolby Vision’s metadata are displayed over two sections: