• Dolby Vision for Content Creation Professionals

    • Dolby Vision's complete ecosystem uses innovation to drive better storytelling.

      • On-Set

        Dolby Vision™ takes full advantage of today's advanced digital cinema cameras and best delivers the creative intent of the filmmaker to the consumer. It starts at the camera lens on set.

        Cameras

        Today's digital cinema and live broadcast cameras can capture up to 15 stops of dynamic range and a wider color palette—much more than the current Rec. 709 HD monitors can display. Dolby Vision capable monitors offer the dynamic range and color gamut necessary for professionals and ultimately consumers to see the entire latitude and color volume that these cameras capture.

        On-set workflows for feature film and episodic TV have evolved to a file-based workflow in many cases. The files can be in a wide range of formats and types, including EXR, Log, RAW, and PQ. It's best to stay at a minimum of 4:4:4 12-bit video quality throughout the process, with the ultimate goal of the RAW files making it to final color correction.

        Monitoring

        To make sure what you see is what you get, on-set monitors and on-set data management systems should support playback in high dynamic range (HDR) with a minimum contrast ratio of 120,000:1 and a P3 color space.

        Dailies

        Although viewing dailies in full dynamic range and color gamut is not entirely necessary, doing so helps ensure that all creatives can see the full-quality image and make informed decisions.

      • Dolby Vision Content Workflow

        Watch a high-level overview of the production and postproduction workflows involved in creating Dolby Vision content.

      • The New TV Standard: Dolby Vision

        With the expanded luminance of Dolby Vision, each scene is created with a range of colors much closer to what the eye actually sees.

    • Dolby Vision offers powerful, flexible creation and editing capabilities.

      • Visual Effects

        Creating visual effects (VFX) for Dolby Vision uses the workflow and practices that film and TV professionals commonly rely on today. VFX artists are already delivering the high dynamic range 16-bit image sequences needed. The key to success comes in monitoring the image. Dolby Vision capable monitors enable the artist to see the full dynamic range and color volume, minimally at the VFX supervisor's station before the images are sent out.

        Monitoring VFX for cinema or television today on only a standard Rec. 709 monitor requires the artist to bracket the image exposure in order to see either highlights or black details of the image data in the VFX shot, sometimes limiting the view of the full results.

        With Dolby Vision capable monitors, the artist can simultaneously see the entire dynamic range and color volume of the VFX shot without adjusting the image. This ensures high confidence that the VFX shot can be matched and composited with other live action or VFX material.

        Editing

        Editing content for delivery in Dolby Vision can be accomplished today through standard dynamic range (SDR) proxies without any changes to editorial tools or process. In the future, editors and directors will want to edit while viewing the fullest possible dynamic range and wide color gamut so that the visual drama delivered in Dolby Vision can become part of the editorial decision-making process.

        Once the color-grading process is complete and the Dolby Vision mezzanine file is created, further editing may be needed to create versioned deliverables localized for language, political or cultural sensitivities, and even creative changes. This can be achieved with an approved Dolby Vision ecosystem editing product, which retains the entire dynamic range and color information on the timeline, as well as Dolby Vision dynamic metadata, which is key in retaining the artistic intent of the content creators all the way to consumer playback. Once edited, the Dolby Vision metadata is reconformed in the editing tool to create the new final Dolby Vision mezzanine file.

      • Dolby Vision Content Workflow

        Watch a high-level overview of the production and postproduction workflows involved in creating Dolby Vision content.

      • The New TV Standard: Dolby Vision

        With the expanded luminance of Dolby Vision, each scene is created with a range of colors much closer to what the eye actually sees.

    • Dolby Vision best delivers the artistic intent of the filmmaker.

      • Color Grading

        Creating the Dolby Vision master grade is similar to existing color-grading workflows for both cinema and home grading. The goal is to preserve more of what the camera originally captured and limit creative trade-offs. This is achieved by unique Dolby® technology and its leveraging of dynamic metadata—shot by shot and frame by frame—to preserve dynamic range and the wider color gamut and to best deliver the artistic intent of the filmmakers on multiple different displays.

        Establishing the Master 

        The Dolby Vision home master is established on a minimum-spec Dolby Vision mastering monitor and on the Dolby Vision laser projection system for the theatrical grade. Both devices are capable of high brightness levels, high contrast ratios, and a wide color gamut. The grade is created in the traditional fashion, except that the imagery data is HDR and is specified in PQ space (SMPTE ST 2084:2014), a perceptual space based on the human visual system, pioneered by Dolby.

        Once this process is done, the Dolby Vision capable color-grading system analyzes the master grade and saves the metadata that describes the creative decisions made on the mastering monitor, scene by scene and frame by frame. The content is then mapped to a Rec. 709 reference display at a standard brightness of 100 nits to create more metadata, and the colorist performs a trim pass to best maintain the creative intent on the SDR version.

        Workflow Output

        The output of the Dolby Vision grading workflow is the image sequence plus the dynamic metadata, which (combined with audio) feeds the Dolby Vision mastering tool that creates the mezzanine file. A Dolby Vision enabled encoder application uses the mezzanine file and generates the Dolby Vision codec. Dolby Vision consumer devices then map the content generated by this process to their best brightness and color-gamut capabilities.

      • Dolby Vision Content Workflow

        Watch a high-level overview of the production and postproduction workflows involved in creating Dolby Vision content.

      • The New TV Standard: Dolby Vision

        With the expanded luminance of Dolby Vision, each scene is created with a range of colors much closer to what the eye actually sees.

    • Dolby Vision Certified Facilities

      A Dolby Vision Certified Service Provider is a professional post facility that has met the following requirements:

        1. The Dolby Vision systems have been installed and commissioned by a Dolby engineer.
        2. All equipment and processes meet the Dolby Vision specifications
        3. The Colorists, Engineers and Operators have been trained by a certified Dolby instructor.
        4. Are audited by Dolby to ensure quality results.
    • North America - West

    • Company

      Address

      Phone

      Service

      Chainsaw

      1017 N. Las Palmas Ave.
      Hollywood, California 90038
      USA

      1-323-785-1550

      Mastering for Home

      Deluxe's Company 3

      3401 Exposition Blvd.
      Santa Monica, CA 90404
      USA

      1-310-255-6600

      Mastering for Cinema and Home

      Deluxe Culver City

      10202 W. Washington Blvd.
      Culver City, CA 90232
      USA

      1-310-237-4400

      Mastering for Home

      Deluxe's EFILM

      1144 N. Las Palmas Ave.
      Hollywood, CA 90056
      USA

      1-323-463-7041

      Mastering for Home

      Deluxe's Encore Hollywood

      6344 Fountain Ave
      Hollywood, CA 90056
      USA

      1-323-466-7663

      Mastering for Home

      Deluxe's Encore Vancouver

      50 West 2nd Avenue
      Vancouver, BC V5Y1B3
      CANADA

      1-604-872-7000

      Mastering for Home

      Light Iron Los Angeles

      6381 De Longpre Ave
      Los Angeles, CA 90028
      USA

      1-323-472-8300

      Mastering for Home

      My Eye Media

      2211 N. Hollywood Way
      Burbank, CA 91505
      USA

      1-818-559-7200

      Quality Control for Home

      Roundabout Entertainment

      217 S. Lake St.
      Burbank, CA 91502
      USA

      1-818-842-9300

      Mastering for Home

      Technicolor Los Angeles

      6040 Sunset Blvd.
      Los Angeles, CA 90028
      USA

      1-323-817-6600

      Mastering for Cinema and Home

    • North America - East

    • Company

      Address

      Phone

      Service

      Deluxe’s Company 3 New York

      218 W. 18th Street
      New York NY 10003
      USA

      1-212-687-4000

      Mastering for Home

      Deluxe Toronto

      901 King’s Street West, Suite 700
      Toronto, ON M5V3H5
      CANADA

      1-416-364-4321

      Mastering for Home

      Light Iron New York

      580 Broadway
      New York, NY 10012
      USA

      1-212-775-0020

      Mastering for Home

      Post Factory NY

      12 Desbrosses St.
      New York, NY 10013
      USA

      1-212-627-1662

      Mastering for Home

       Post Works / Technicolor NY

      110 Leroy Street
      2nd Floor
      New York, NY 10014
      USA

      1-212-609-9400

      Mastering for Home

    • Asia

    • Company

      Address

      Phone

      Service

      Best & Original Production LTD.

      9 Kai Cheung Rd.
      Sino Industrial Plaza, Unit 1-2, 7F
      Kowloon Bay Hong Kong Island 999077
      Hong Kong
      CHINA

      852-2338-6111

      Mastering for Home