Qube Cinema will provide its XP-I server and Xi 4K Integrated Media Block (IMB), with Quad 3G inputs, to Canon U.S.A. for its 4K Digital Intermediate (DI) theater at NAB 2013. The 4K DI theater will demonstrate a pipeline from reviewing uncompressed 4K image files from the Canon EOS C500 4K digital camera, through the Quantel Pablo Rio high-end color and finishing suite with new 4K output, to the Qube Xi 4K IMB and projected via Barco‘s new DP4K-P postproduction projector. Attendees will be able to see a live demonstration where 4K images will be reviewed, color graded at 4K in real time and review 4K DCPs for final QC, all from a single 4K projector.
Canon’s NAB 4K DI theater will showcase the image quality of the Canon EOS C500, the company’s professional 4K digital cinema camera. The EOS C500 4K digital camera can capture uncompressed RAW 4K and 2K at frame rates of up to 120 fps as well as HD video. It is designed for high-resolution motion picture productions.
The system uses a single Qube XP-I server, which is capable of streaming up to 1 Gbps of data, sufficient throughout to support DCPs at a frame rate of 30 fps at 4K or up to 120 fps at 2K. The postproduction version of the Qube Xi 4K IMB featured in Canon’s booth has a Quad 3G interface with four 3G-SDI cables that can link to color grading or finishing systems that stream uncompressed 4K content directly to a 4K D-cinema projector.
This gives facilities the ability to review and process 4K master image files from the EOS C500 4K digital camera, and then switch seamlessly from uncompressed 4K color grading to 4K DCP playback without swapping input boards. This allows for immediate comparisons and precise quality control of all deliverables.
“Being able to color grade uncompressed 4K image files directly from the Canon EOS C500 4K digital camera, through the Qube Xi 4K IMB and straight into their 4K projector is a huge leap forward for postproduction studios,” said Eric Bergez, director of sales and marketing for Qube Cinema. “Canon can review their 4K master images, color correct in 4K and then encode and review a 4K DCP all from the same 4K projector. Having one system for review and playback of all their 4K content will save postproduction facilities time and money.”
