First, there was primary colour correction: adjusting the levels of red, green and
blue. From that, came secondaries, adding yellow, cyan and magenta to the control palette.
To make the leap from colour correction - essentially a repair job - to colour processing
- a creative role - needs much more fine control over every hue in the spectrum.
Pandora's DCP gives you that - as well as comprehensive control over the whole image, you have the ability to focus in on an individual colour, defined by hue, saturation and luminance, and change it to any other colour. The selected colour can be as precise or as broad as you want, and it can be changed to any other colour in the spectrum. The ability to define by hue, saturation and luminance is unique to DCP and removes one of the biggest single barriers to colorist creativity. Yet DCP is even more powerful. You have not one but six of these colour processors running in parallel, each in a regional isolation channel. So, if you need to turn the red roses to yellow but leave the red carnations untouched, it is simple with DCP. DCP has two parallel 10 bit digital inputs: 4:4:4 for telecine and 4:2:2 for tape to tape colour correction or for a reference store. The processing is, of course, fully digital, using Pandora's unique algorithms and it remains within RGB colour space at all times, ensuring that no "illegal" colours can be generated. Finally, DCP is as user-friendly as it is powerful. The finest colour processing would be worthless if the colorist struggles to find the right facilities in the heat of a session. DCP adds another module to the Pogle control panel but keeps the same basic design philosophy: everything you need is ready to hand
If DCP is the finest colour processor available, ESR adds a huge boost to its
facilities. It gives you remarkable but instinctive control over the parts of the picture
to which correction is applied. ESR allows you to define objects within the scene by means
of a colour and shape. Not just round and square windows from a library of predrawn
shapes, but actual objects which follow the image in real time. Within the object you have
the full range of DCP controls: both primary (lift / gamma / gain) and secondary. Then
remember that, with ESR, you can define up to six such zones, with different colour
processing within each as well as the remaining background picture outside all zones.
Zones can overlap or be layered; and all processing is, of course, in real time. ESR also
allows soft edges to the colour transitions. With other colour processors, a colour either
matches the requirement (in which case it is modified) or it does not (so is left alone).
By adding a range control to each parameter you can gradually introduce the correction,
making for a much more natural look. It also gives you great creative scope: if the sky
does not look right you can create your own, shading from red at the horizon to palest
The Pandora team is dedicated to producing the finest in colour processing. By
listening to the needs of colorists, they have built on the basic building blocks of the
Pogle controller to produce the most powerful and creative facilities which are easy to
use, reliable and repeatable
Four Input ports 10 bit 601 [Serial or Parallel] accepts two 4444 inputs or four 422 in
8:4:4 and 8:8:8 Input options in preparation please contact sales department.
Twin 422 output 10 bit 601 [Serial and Parallel]
4444 output option for channel A
Auto sensing 525/625 lines requires external Colour Black reference
Hue 360° Rotation
(Uses three axis trackerball system)
GAIN [white] MASTER range 0 - Infinity
White Colour Balance
LIFT [black] MASTER range 0% (black) - 100% (white)
Black Colour Balance
GAMMA MASTER range 0.2 - 1.0
Gray Colour Balance
WHITE SOFT CLIPPING
with slope and threshold adjust
All soft clipping parameters can be adjusted
individually for Red Green and Blue Channels
HUE 360° Rotation
VECTOR SPREAD 8 steps from 10° to 80°
VECTOR ANGLE 360° Rotation
HUE ISOLATION WIDTH/ROTATION
[adjustable to less than 0.5degree]
SATURATION ISOLATION HIGH/LOW
LUMINANCE ISOLATION HIGH/LOW
X POSITION LEFT/RIGHT
Y POSITION TOP/BOTTOM
OUTPUT HUE 360° Rotation
OUTPUT SATURATION 0-400%
OUTPUT LUMINANCE 0-400%
Full Frame 444 10 bit reference store
Vertical and Horizontal wipe controls
XY Position adjustment
Reference store may be driven from external input
Ensures that all output signals have legal R-Y B-Y and RGB components
Control Panel 150VA max
POGLE 400VA max
DCP 1000VA max
Enhanced Colour Correction (ECR)
There have been several refinements to these functions:
Originally DCP isolated colours using five pairs of controls:
The selection set by all of these controls was HARD edged i.e. either a particular
pixel matched exactly all of the parameters or it did not.
On the ESR module the output of this stage becomes linear i.e. it will be 100% when all parameters match, but only 50% if only some of them do, and so on. By adding a range control to each parameter [Hue/Sat/Lum/X/Y] it is possible to blend colour corrections into the background with much softer and, therefore, more natural transitions.
Skew and tilt functions
Curved shapes can now also be programmed. Controls are provided to individually vary the softness of vertical and horizontal edges for each region.
The Luminance and Saturation modifier controls now have an additive as well as a
As well as the standard Hue Saturation and Luminance output controls for each channel layers 1-3 have been equipped with a FULL set of primary controls [Lift/Gamma/Gain]. This provides a total of four sets of primary colour controls.Channels can be overlapped with variable transparency.