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ColorBox

HDR/SDR 色彩管理与 LUT 色彩变换

ColorBox

概述

功能

工作流

技术参数

介绍

ColorBox 是 AJA 最新发布的一款紧凑、超低延迟、高性能的色彩管理工作流解决方案，专用于满足广播、直播事件、现场应用和后期的色彩转换需求。 可支持标准动态范围( SDR )、高动态范围( HDR )和广色域( WCG )信号，利用 12G-SDI 和 HDMI 2.0，可实现单线缆的 4K/UltraHD HDR 4:2:2 10-bit 60p 或 4:4:4 12-bit 30p，并且具备独特的色彩处理管道。
基于 33-point 3D LUT 处理器，ColorBox 的 AJA Color Pipeline 提供了额外的四个 1D LUT 和两个 3×3 矩阵，每个都可单独配置；甚至可以作为 Proc Amps 或 RGB 颜色校正器，控制您的色彩转换。 利用有线以太网连接直接访问，或第三方 WiFi USB 适配器进行无线连接，即可通过网络用户界面轻松管理颜色处理选项。

除 AJA Color Pipeline 外，ColorBox 囊括了 Colorfront™ Engine 优化算法变换和 NBCU LUTs。 而且，您还可通过授权方式选择性升级 BBC HLG LUTs 和全新的 ORION-CONVERT，用于扩展ColorBox的高级颜色管理工作流程。 ORION-CONVERT 通过独特的实时浮点计算方法来进行色彩变换，可以获得更高精度的结果。 这确保了像素完美的色彩转换，转换过程中色彩的保持是至关重要的。

ColorBox还提供了先进的测试模式发生器和帧存储，为您的工作流程带来了实用的工具，其中就包括采集16-bit.tiff 4K图像的能力，用于获取高质量的参考静帧。 ColorBox甚至可以将信息叠加到图像上，包括有用的用户自定义文本字段。 这些图像可以保存在本地 ColorBox上，或保存在运行了诸如 Livegrade Pro/Studio 和 Assimilate Live Looks 应用程序的第三方 PC 上。

功能 & 优势

  • 12-bit 4:4:4 12G-SDI I/O ，最高 4K/UltraHD HDR/WCG 30p。
  • 10-bit 4:2:2 12G-SDI I/O， 最高 4K/UltraHD HDR/WCG 60p。
  • 12-bit 4:4:4 HDMI 2.0 输出，最高 4K/UltraHD HDR/WCG 30p。
  • 10-bit 4:2:2 HDMI 2.0 输出，最高 4K/UltraHD HDR/WCG 60p。
  • 超低延迟，少于½视频线路。
  • 具备四面体算法，基于 33-point 3D LUT 处理器的 AJA Color Pipeline。 3D LUT processor with tetrahedral interpolation
    • 7 x 节点加 Overlay。
      • 1x 3D LUT 处理器, 用户可配置为 3D LUT 或 Dynamic。
      • 4x 1D LUT 处理器, 用户可配置为 1D LUT, Dynamic, 或 Color Corrector。
      • 2x 3×3 矩阵处理器, 用户可配置为 3×3 Matrix, Dynamic, 或 ProcAmp。
    • 支持行业标准文件类型，无需转换为专有格式。
    • 可配置的色彩空间、范围和传输特性。
    • 全帧 LUT 处理。
  • 五种色彩处理管道。
    • AJA Color
    • Colorfront Mode。
    • ORION-CONVERT Mode (选购)。
    • BBC HLG LUT Mode (选购)。
    • NBCU LUTs。
  • 直观便捷的基于网络浏览器的用户界面，附带视频预览监看。
  • 内置帧存储。
    • 最高 4K/UltraHD 帧采集和调用。
    • 采集预处理或后期处理图像。
  • 测试模式最高可达 4K/UltraHD, 内置9x 测试模型。
  • 在输出叠加信息。
    • 用户文本。
    • User Overlay
    • 输入和输出信号信息。
    • 管道配置文件。
    • 叠加可被采集为图像，供将来使用。
  • 用于文件管理的板载库。
    • 16x 1D LUTs。
    • 16x 3D LUTs。
    • 16x 3×3 矩阵。
    • 16x 图像。
    • 16x Overlays
  • 预设管理，每管道10个加启动预设。
  • ANC 元数据直通。
  • 12G-SDI input and output with separate loop-out
  • HDMI 2.0 输出
  • 嵌入式音频直通，SDI 16-ch. 和 HDMI 8-ch.。
  • 外形紧凑，4台设备可上1RU机架。
  • 超静音风扇。
  • 重量轻。
  • 直流供电，坚固、带锁扣的 4-pin mini-XLR 电源接口。
  • On/Off 按钮，不用时可节约电力。
  • Select 按钮，用于分流视频处理。
  • 广泛的API可以第三方控制集成。
  • 嵌入式网络服务器用于远程控制。
  • 可通过USB端口配置IP地址，在PC/Mac平台提供了 AJA eMini-Setup 软件。
  • 3年质保。

ColorBox 具备优雅的外观 前面板提供：

  • USB OTG (on-the-go)端口，用于配置初始IP地址或连接第三方WiFi适配器。
  • Select 按钮，用于手动分流视频处理。
  • Power 按钮，不用时可节约电力。
  • SDI Lock LED 灯，显示锁定支持的SDI输入格式。
  • Status LED灯，显示 ColorBox 的各种状态。

后面板提供：

  • 12G-SDI 输入
  • 12G-SDI 环出
  • 12G-SDI 输出
  • HDMI 2.0 输出
  • 4-pin mini-XLR 供电
  • 1GigE Ethernet 端口

超静音风扇和恰当的通风口位置，使得冷空气从设备的前部吸入，暖空气从后部排出。

ColorBox 提供了当今工作流程的关键应用程序，

  • 包括： 用于电视直播和演唱会制作的4K/UltraHDSDR和HDR管道。 用于电视直播和演唱会制作的4K/UltraHDSDR和HDR管道。转播车和其他直播事件基础设施可以轻松使用ColorBox将SDR信号转换为HDR，并将HDR转换为其他交付格式。 可选购的ORION-CONVERT和BBC HLG LUTs，以及免费内置的Colorfront变换和NBCU LUTs提供了所有必要的工具来管理HDR工作流程。 对于基于硬件的控制，SKAARHOJ和CyanView已经在他们的控制面板集成了ColorBox的本地控制。
  • 数字影像工程师 (DIT) 的现场外观管理和调色，要确保现场内容的采集要满足摄影师、摄影指导、调色师、服装、灯光设计和后期编辑人员在制作过程中的需求。 数字影像工程师可以轻松管理工作流程，加载多个外观，根据需要进行调整，并为日常、后期制作和之后的使用保存参考图像(最高可达4K)。 Pomfort 的 Livegrade Pro 和 Studio，Assimilate Live Looks 和 Live Assist 轻松集成，提供 ColorBox 实时的本地控制。 ColorBox 独特的全帧处理能力，消除了部分帧 LUT 处理。
  • 监视器校准。 无论在工作室、设备租赁、制作或后期设施，任何地方都需要高质量的显示校准，ColorBox 可以为您提供帮助。 ColorBox 具有广泛的 API，允许第三方控制 ColorBox 帧存储，并可输出 12-bit RGB 测试程序，用于高质量的监视器校准应用。

 

ColorBox的宽度和深度分别为 10.6cm*19.05cm。，只会占用您桌面很小的空间；或者您可以在1RU的机架上安装多达4台ColorBox设备，在DIT推车、随身器材包中您可以轻松添加。它的重量也很轻，只有0.45公斤，非常适合 DIT 和移动应用。

ColorBox 带有一系列管道可供选择。 可为您的制作需求选择任何特定的管道。 有些管道是专门为直播或现场活动的需要而设计的。 比如 AJA Color Pipeline，它提供了很大的灵活性，可以对任何应用转换的每个步骤进行更多的控制。 BBC HLG LUTs 或 ORION-CONVERT 作为选购管道，在试用时将在图像上显示水印，在购买可选许可证之前，可以让您更好的对色彩进行评估。 ColorBox 提供独特的图像处理能力，针对设备的类型拥有一个无与伦比的设备选项阵列——全 12-bit 4:4:4 最高 4K 30p 和 10-bit 4:2:2 最高 4K 60p。 针对 12G-SDI 和 HDMI 2.0 输出，还提供了全分流节点，用于快速比较。

ColorBox 提供五种模式

  • AJA Color
  • Colorfront (可选购，预览模式带水印)
  • ORION-CONVERT (可选购，预览模式带水印)
  • BBC HLG LUT (可选购，预览模式带水印)
  • NBCU LUTs。

AJA Color Pipeline provides users with the most advanced color management tools available for a device of its type.  With 7 nodes of real time processing plus Overlay, the pipeline offers capabilities only seen in software based color correction applications. These nodes give you full control over color space, video level, and dynamic range conversion to get the most out of your color managed workflow.  Dynamic nodes are controllable by third party applications.

  • 7x processing nodes plus Overlay
  • Pipeline processes in 12-bit RGB
  • 1x 3D LUT, user configurable as 3D LUT or Dynamic
    • 33pt. 3D LUT processor with tetrahedral interpolation
  • 4x 1D LUT, user configurable as 1D LUT, Dynamic, or Color Corrector
    • Supports 10 or 12-bit 1D LUTs
  • 2x 3×3 Matrices, user configurable as 3×3 Matrix, Dynamic, or Proc Amp
  • Supports industry standard file types, no conversion to proprietary format required
  • Configurable Color Space, Range, and Transfer Characteristic
  • Full frame LUT processing
  • Full bypass node for 12G-SDI and HDMI 2.0

This toolset enables workflows to be set up and easily replicated utilizing ColorBox preset import and export capabilities.

This primary 33pt. 3D LUT uses tetrahedral interpolation for the highest accuracy conversion. 3D LUTs provide full volumetric non-linear color adjustment and a 33pt 3D LUT is a requirement for HDR workflows. Very useful for calibration purposes as the controls can respond to all possible calibration errors. Similarly, high end movie and television productions depend on 3D LUT processing for look generation, distribution, and management.  When set to Dynamic, the 3D LUT is fully controllable through third party software like Pomfort Livegrade, Assimilate Live Looks, and QTAKE Video Assist.

Flexibility is key in production and post, with four 1D LUTs it is easy to manage your color processing pipeline to get the best possible image. 1D LUTs are commonly used as “shaper LUTs” wrapping around the 3D LUT.  The front shaper 1D LUT allows you to map perceptually significant values, typically the darker part of the color space, to use more of the 3D LUT transform data set resulting in a more effective use of the 3D LUT to produce a better image. The backside shaper 1D LUT is usually the inverse of the front, mapping pixel values into the original dynamic range. 1D LUTs can also be effectively used as log-to-linear and linear-to-log transforms. In the AJA Color Pipeline, 1D LUTs can even be set up as RGB Color Correctors for color correcting a source before 3D LUT processing, this is a common workflow in live production applications.

ColorBox’s two 3×3 Matrices provide the operator a means to perform different color processing tasks outside of a LUT using their own 3×3 matrix files. 3×3 Matrices are commonly used for color space conversion, for example between RGB and XYZ or YUV, BT. 709 and BT. 2020, or other color spaces with different primaries.  A 3×3 Matrix can be used to color balance a signal if the white balance is off.  They can also be used for look creation such as film emulation.  In the AJA Color Pipeline, 3×3 Matrices can even be set up as Proc Amps for adjusting a signal’s Gain, Black level, Hue, and Saturation before 3D LUT processing, this is a common workflow in live production applications.

The ColorBox HDR/WCG capabilities leverage video and color space processing algorithms within the Colorfront Engine, specially licensed by AJA from Colorfront, and developed by Colorfront’s CTO Bill Feightner and Lead Engineer Tamas Perlaki.  Colorfront offers a color processing pipeline with set and forget SDR and HDR transforms designed for use wherever HDR productions are performed. The Colorfront pipeline includes:

  • Built-in SDR, HLG, and PQ transforms
  • Licensable upgrade to access the full TV Mode and Live Mode
  • Optimized transforms designed for broadcast
  • Maintains perceptual integrity
  • Full bypass node for 12G-SDI and HDMI 2.0
  • Support for ITU BT.2408, Operational Practices in HDR Television Production

NBCU LUTs, developed by NBCUniversal Media, LLC in collaboration with Cromorama, enable a workflow for single-master live production of simultaneous HDR and SDR content.  Designed for television broadcasters, NBCU LUTs include SDR, HLG and PQ LUTs that maximize the dynamic range and color volume in HDR, without compromising core SDR broadcasts.

  • Imperceptible round-tripping of SDR BT.709
  • Conversions designed with a knee that is natural with latitude for live video shading
  • Scene-light and Display-light conversions
  • SDR, HLG, and PQ conversions
  • Utilizes 33 point Tetrahedral 3D LUT Interpolation
  • Proc Amp and Color Corrector
  • Full bypass node for 12G-SDI and HDMI 2.0
  • Support for ITU BT.2408, Operational Practices in HDR Television Production

NBCU LUT Conversions

  • 1-NBCU_SDR2HLG_DL_v1.1, SDR UpMap to HLG using Display Light
  • 2-NBCU_SDR2HLG_SL_v1, SDR to HLG using Scene Light
  • 3-NBCU_HLG2SDR_DL_v1.1, HLG to SDR using Display Light
  • 4-NBCU_SDR2PQ_DL_v1, SDR UpMap to PQ using Display Light
  • 5-NBCU_PQ2SDR_DL_v1, PQ to SDR using Display Light
  • 7-NBCU_HLG10002PQ_v1, HLG 1000 Nits to PQ

This toolset enables HDR workflows to be set up and easily replicated utilizing ColorBox preset import and export capabilities.

Colorfront Pipeline Options

Colorfront’s new TV Mode and Live Mode are now available in both FS-HDR and as a licensable option in ColorBox. TV Mode is an intuitive color processing engine aimed at broadcast workflows that contains the built-in SDR, HLG and PQ transforms.

When licensed, it provides operators access to new Brightness, Highlight, Super Highlight, and Colorfulness tools that enable greater control over critical elements in color conversions. With them, get controlled corrections within the guardrails of Colorfront’s perceptual processing algorithm, which will maintain perceived color, hue, and saturation without hard clipping artifacts. TV Mode also includes Sony S-Log3 conversions as part of the license upgrade, which have proven advantageous in modern live production applications.

The same license also enables Colorfront Live Mode, which includes several camera Log formats beyond SDR, HLG and PQ like the new ARRI LogC4.

  • Colorfront Engine TV Mode provides specific conversions and simplified controls for highlight and roll-off management in live television broadcast productions.
    • SDR, HLG, PQ, and Sony S-Log3 transforms
    • Highlight and roll-off management with Brightness, Highlight, and Super Highlight
    • Colorfulness control for managing the Hunt Effect
    • Roundtrip setting for ensuring a technical match during a round trip process
    • Adjusting R,G,B, and Master color controls for:
      • Lift, Gamma, and Gain
    • Adjusting for camera correction with Exposure, Color Temp, and Tint

Colorfront Engine Live Mode provides conversions and controls that support live applications such as broadcast, OTT, A/V, and venue.

  • SDR, HLG, PQ, and Sony, ARRI, RED, Panasonic, and Canon transforms
  • HDR Log Look, SDR Softness, HDR Amount, Ambient Light Compensation, P3 Clamp
  • Adjusting R,G,B, and Master color controls for:
    • Lift, Gamma, and Gain
  • Adjusting for camera correction with Exposure, Color Temp, and Tint

ORION-CONVERT brings the power of Cromorama color science to real time hardware based conversion. This same color science is responsible for the Emmy nominated and IBC 2021 Special Award winning NBCU LUT based HDR-SDR broadcast workflows, as well as UEFA Euro 2020, Tokyo 2020 Olympics, FIFA 2021 Arab Cup, Beijing 2022 Winter Olympics, and the FIFA 2022 Qatar World Cup amongst others.  

ORION-CONVERT offers the necessary tools for broadcasters to create and deliver the HDR and SDR content consumers expect from a single master HDR workflow by providing critical controls required to set up the right conversion for your production. By being able to set the HDR and SDR reference anchor points in an HDR to SDR conversion, you can target an SDR program output that suits your market’s SDR display needs. You can target 200 nits SDR resulting in a much more representative image for the camera shader and a more vibrant HDR image for the viewer at home or target a perceptual match at 100 nits SDR. Also, in an HDR to SDR conversion, the unique 2 stage knee offers a pre-conversion compression in HDR only and a post-conversion compression in SDR only providing very effective roll off management control. The new Gamma Compensation feature applies the optional OOTF (as described in section 5.1 of ITU-R BT.2408-5) to compensate for the subjective change in appearance between SDR and HDR ensuring compatibility between different color conversion philosophies.

This is a licensable upgrade and includes:

  • Conversions utilizing floating point math for higher precision results
  • SDR, HLG, and PQ transforms
  • Scene-light and Display-light modes
  • 2-stage Knee adjustment for pre and post conversion compression or expansion
    • Compression amount control in HDR to SDR conversions
    • Expansion amount control in SDR to HDR conversions
  • Configurable SDR and HDR reference anchor points
  • HDR Peak Nit sets the system gamma for display light conversions
  • Gamma Compensation setting to compensate for the subjective change in appearance between SDR and HDR
  • Easy to configure pixel perfect round tripping
  • Clamping options
  • Full bypass node for 12G-SDI and HDMI
  • Support for ITU BT.2408, Operational Practices in HDR Television Production

This toolset enables HDR workflows to be set up and easily replicated utilizing ColorBox preset import and export capabilities.

 

BBC HLG LUTs Pipeline offers additional functionality that adds field proven HDR conversion options, particularly for television broadcasters who are looking for specific conversion criteria.  This mode provides an RGB Color Corrector and Proc Amp to color correct the signal prior to conversion.

This is a licensable option and includes v1.6 BBC HLG LUTs:

  • SDR, PQ, and S-Log3 to HLG
  • HLG to SDR and PQ
  • Scene-light and Display-light conversions
  • Utilizes 33 point Tetrahedral 3D LUT Interpolation
  • Proc Amp and Color Corrector
  • Full bypass node for 12G-SDI and HDMI 2.0
  • Support for mathematical HLG HDR dynamic range mapping per ITU BT.2408

BBC HLG LUT Conversions

  • SDR Scene Referred (SR) to HLG
  • SDR Scene Referred (SR) to HLG Strict
  • SDR Scene Referred (SR) UpMap to HLG
  • SDR Scene Referred (SR) UpMap to HLG Strict
  • SDR Display Referred (DR) to HLG
  • SDR Display Referred (DR) UpMap to HLG
  • SDR BT.2020 Display Referred (DR) to HLG
  • SDR BT.2020 Display Referred (SR) UpMap to HLG
  • PQ 1000 Nits Display Referred (DR) to HLG
  • PQ 4000 Nits Display Referred (DR) to HLG
  • S-Log3 100% Scene Referred (SR) to HLG
  • S-Log3 200% Scene Referred (SR Live) to HLG
  • HLG to SDR Scene Referred (SR)
  • HLG to SDR Scene Referred (SR) Strict
  • HLG to SDR Display Referred (DR) Color Appearance Model (CAM)
  • HLG to SDR Display Referred (DR) Super White
  • HLG to PQ 1000 Nits Display Referred (DR)
  • HLG to SDR BT.2020 Display Referred(DR) Super White
  • SDR Scene Referred (SR) to HLG to SDR Display Referred (DR)

This toolset enables HDR workflows to be set up and easily replicated utilizing ColorBox preset import and export capabilities.

 

Unique to a device in its class, ColorBox has incredible frame capture and recall up to 4K/UltraHD 16-bit .tiff files allowing you to capture pre or post processed reference images. Multiple use cases are possible, from VFX composite checks, to look comparisons between takes to ensure consistency, and general reference image capture, recall and import/export to validate the color processing pipeline. Frames can be stored locally on ColorBox for easy access or saved directly to a computer running third party software like Livegrade and Assimilate. Capture or recall up to 16 full resolution images locally with an option to include the Overlay if needed. If the resolution of the image doesn’t match your target format, ColorBox can even scale it to fit.

 

ColorBox can also output standard test patterns, without the need for an active input. ColorBox test patterns can be used in any number of scenarios where a test signal is needed rather than a source signal. The test patterns are configurable to output a wide range of video formats and frame rates.

 

In AJA Color Pipeline, the 1D LUTs can be configured as a RGB Color Corrector and the 3×3 matrices as a Proc Amp.  This allows for source color correction and image control prior to or after performing a 3D LUT transform ensuring the best possible conversion. BBC HLG LUTs and NBCU LUTs pipelines also offer a RGB Color Corrector and Proc Amp prior to 3D LUT processing.

 

ColorBox offers several important features, from overlaying selected metadata and user data on the video for live use, capturing or embedding in the .tiff file for later use, or just passing ANC metadata to the next device. By storing the ANC data, one can quickly come back to and recall the exact camera settings, pipeline configuration, etc., that created an image. ColorBox also offers a customizable user text field that is great for overlaying any information on an image needing to be conveyed to an observer, such as camera or lens information, if the camera can’t provide it.  

When setting up a shot, many factors need to be considered when framing it. The camera manufacturer, the sensor size, the lens, and the target aspect ratio all play a role. The ability to see frame lines on-set gives the production the best chance at capturing the shot composition correctly for the project from the get go. New with ColorBox is User Overlay, providing the ability to import and overlay custom images onto the output. Those images could be frame lines or any other image, such as a logo, imported as .png files to the Overlay library and recalled along with or without the already available overlay information. 

User Text and User Overlay can also be stored on the captured image as part of the Overlay. Additional Overlay accessible data includes Input and Output VPID, Timecode presence, Closed Captioning presence, and Pipeline Configuration. Output HDMI infoframe status is also available in the UI.

 

 

ColorBox offers the largest library capacity of any equivalent device in its class, providing a wealth of creative choice onset or anywhere in the production pipeline. Set up an easy to access bank of options for any shoot, then recall the same settings just as easily in post. 16x onboard memory slots are available for each category of supported files; 1D LUTs, 3D LUTs, 3×3 Matrices, Images, and Overlays.

Ten pipeline presets can be stored per pipeline, and all can be imported and exported to/from ColorBox. Pipeline Presets store all settings needed to replicate a configured transform. Included is also a Startup Preset setting that allows an operator to select a specific preset to be loaded upon power up, guaranteeing a known startup state. The Pipeline Presets for AJA Color Pipeline stores all files loaded into the pipeline, active or not, for easy setup and transfer between devices.

 

Access to the intuitive web UI control with Video Preview for confidence monitoring from a standard web browser via LAN or supported third party WiFi USB adapters*, allowing local and remote operation.

*See Tech Specs for supported adapters

ColorBox Workflows

In this production workflow, we see an on-set 12G-SDI signal from a 4K cinema camera system passed to the ColorBox via the 12G-SDI in. The ColorBox has a 3D LUT applied, which simulates a film look and is monitored for the DIT over the HDMI 2.0 out. At the same time, the DP monitors the same 3D LUT applied video via 12G-SDI for more critical feedback. Different 3D LUTs are selectable to suit the needs of the production, with easy control provided by the DIT. The loop through on ColorBox is connected to the Ki Pro Ultra 12G for high quality capture of the video signal without the LUT applied. Third party tools can adjust Color Decision Lists (CDL) values on the fly for on-set color grading. Download Workflow

In this production workflow, we see the dailies being played back from an AJA Ki Pro Ultra 12G via the 12G-SDI out, passed to the ColorBox device. Using a laptop and an HDMI 2.0 monitor alongside ColorBox offers a powerful solution in a relatively small area, easily deployed in a small hotel room or modest meeting room. The LUTs used earlier in the day’s shooting are easily accessible and applied to match the playback needs, including the options to tweak or audition alternate looks as well, all in real time. Download Workflow

In this production workflow, the 12G-SDI output of a 4K camera is routed via an AJA KUMO 3232-12G SDI router to two ColorBoxes, A and B. ColorBox A is set up to output an HDR video signal to a 4K HDR monitor via the KUMO 3232-12G. At the same time, ColorBox B is providing an SDR video signal to a 4K SDR monitor via the KUMO 3232-12G. Valuable feedback from real time comparisons of the HDR and SDR video outputs can again save time and money, ensuring the recorded video best matches the needs of all deliverable formats.

Download Workflow
In this live television OB truck production workflow, we see a number of 12G-SDI outputs from UltraHD television camera systems that are passed to a number of ColorBoxes via the 12G-SDI in. SDR to HDR conversion is provided by the ColorBox units, in this case converting each input to be HLG on the output to suit the needs of the current live production single master HDR workflow. ColorBoxes on the output of the switcher convert HLG to different deliverable formats, including SDR and PQ.  As sources are added, more ColorBox units can be included easily to accommodate the production as it scales. Download Workflow
In this postproduction workflow, a ColorBox is being used inline from the 12G-SDI output of an AJA Io 4K Plus. The timeline output is passed to the output of the Io 4K Plus and out to the ColorBox, where LUTs can be applied to the 12G-SDI monitored output without the need for rendering until later in the process. This allows editors to be nimble with auditioning looks and making decisions without having to wait for complex renders. Download Workflow

Access to the intuitive web UI control with Video Preview for confidence monitoring from a standard web browser via LAN or supported third party WiFi USB adapters*, allowing local and remote operation.

*See Tech Specs for supported adapters

Partner Integrations

To control the rich feature set of ColorBox beyond the built-in web UI, ColorBox offers a comprehensive set of tools to enable third parties to develop their own native control.  Using a RESTful API defined using OpenAPI, the protocol is presented intuitively allowing both humans and computers to discover, interact, and understand ColorBox capabilities.  To support developers, several OpenAPI generated programming language implementations are included with example projects, visit the ColorBox Support page.

 

“Pomfort’s Livegrade products deliver comprehensive digital imaging systems for demanding productions, tying together look management and on-set monitoring integrated with a wide range of camera workflows and setups,” says Patrick Renner, Head of Product at Pomfort. “AJA’s ColorBox enables us to dynamically control 3D LUTs in Livegrade, getting framegrabs via Frame Store, and pulling ancillary data, including camera and lens metadata, into source signals.”

https://kb.pomfort.com/livegrade/setting-up-devices/setting-up-aja-colorbox/

 

QTAKE Video Assist software natively controls ColorBox as an external realtime color processor utilizing the 33pt. 3D LUT and up to 4K/UltraHD resolution within the AJA Color Pipeline (ACP) mode, to provide support for the highest quality external color processing device currently available in QTAKE. This support is provided within the QTAKE Video Assist application as a part of GRADE Module.

https://qtakehd.com/

 

 

“AJA ColorBox takes LUT boxes to a whole new level, providing sophisticated color pipeline setups unlike anything we’ve seen before,” shared Mazze Aderhold, Chief strategic workflow engineer at Assimilate. “Professionals can use it to combine multiple LUTs and color matrices to ensure their desired look with an intuitive web UI that makes it easy to operate. We’re proud to continue advancing on-set look management workflows with Live Looks and Live Assist support for ColorBox.”

https://www.assimilateinc.com/

 

“SKAARHOJ is excited to integrate AJA ColorBox with our RCP broadcast controllers and Blue Pill platform. Together, these solutions will support best practices out of the box and enable endless color control possibilities,” shares SKAARHOJ CEO, Founder, and Chief Designer Kasper Skårhøj.

https://www.skaarhoj.com/

 

“When producing live events, camera shading is often combined with live post-processing adjustments. AJA ColorBox provides a flexible hardware processing solution with nodes that ensure accurate mappings as multiple camera types, and brands are implemented, and unprecedented color fidelity for live and postproduction HRD/SDR workflows,” shared David Bourgeois, CEO & Founder, CyanView. “CyanView RCP combines multiple integrations to provide a seamless hardware interface similar to a typical broadcast workflow and gives ColorBox users more tactile control over these functions. Its intuitive control panel buttons combined with the color accuracy of ColorBox make it easy for the operator to complete post-process adjustments as efficiently as if they were done in camera.”

https://www.cyanview.com/

 

Portrait Displays’ Calman display calibration software natively controls ColorBox to generate high quality custom test patches necessary for professional display calibration. In addition, it takes advantage of the AJA Color Pipeline and its 1D and 3D LUTs to apply the calibration.

“Portrait Displays is excited to integrate Calman, the world’s leading calibration software, with AJA’s ColorBox. With built-in pattern generation and the ability to optimize displays with both 1D and 3D LUTs, creatives now have a sophisticated toolset for highly accurate calibrations of any display via HDMI or SDI.” – Scott Anderson, CPO & EVP.

https://www.portrait.com/

 

 

LIGHT ILLUSION’s ColourSpace display calibration software natively controls ColorBox to generate high quality custom test patches necessary for professional display calibration. In addition, it takes advantage of the AJA Color Pipeline and its 1D and 3D LUTs to apply the calibration.

https://www.lightillusion.com/

 

 

AJA’s technical support is recognized as among the best in the industry and is available to all AJA customers. If you need assistance with any aspect of your ColorBox installation, configuration, operation, or encounter any technical issues, AJA Support will work with you to get up and running. ColorBox products are covered by a generous three year warranty.
Tech Specs

HDR/WCG Real Time Processor

  • HDR Conversions
    • HDR to HDR
    • HDR to SDR
    • SDR to HDR
  • Colorimetry
    • BT.709 and BT.2020
 

Video Formats

  • (4K) 4096x2160p
  • (UltraHD) 3840x2160p
  • (2K) 2048x1080p
  • (HD) 1920x1080p
  • (HD) 1920x1080i
  • (HD) 1280x720p
 

Color Processing Pipeline

  • Processes in 12-bit RGB
  • 5x pipelines; AJA Color, Colorfront, ORION-CONVERT, BBC HLG LUTs, NBCU LUTs
  • 7x processing nodes plus Overlay in AJA Color; 4x 1D LUTs, 2x 3×3 Matrices, 1x 3D LUT
 

AJA Color Pipeline (ACP)

  • 7x nodes in order of processing:
    • 1D LUT, 3×3 Matrix, 1D LUT, 3D LUT, 1D LUT, 3×3 Matrix, 1D LUT, Overlay
  • 3D LUT configurable as LUT or Dynamic
    • Supports custom 33 point .CUBE, .SPI3D, and .3DL format 3D LUTs*
  • 1D LUTs configurable as LUT, Dynamic, or Color Corrector
    • Supports custom 10 and 12-bit .CUBE and .SPI1D format 1D LUTs
  • 3×3 Matrices configurable as Matrix, Dynamic, or Proc Amp
    • Supports custom .SPIMTX format matrices
  • Tetrahedral 3D LUT interpolation
  • Configurable Color Space, Range, and Transfer Characteristic
  • Nonvolatile storage of 16x 3D LUTs, 16x 1D LUTs, and 16x 3×3 Matrices
  • Overlay

  *Various 3D LUT sizes are supported, but will be converted to 33 point for processing

 

Dynamic LUT Processing

  • Supports third party apps for automatic loading and display of 3D LUTs
  • Reflects dynamic changes in real time from source software
  • Full frame LUT processing
  • Supported by
    • Pomfort Livegrade Pro and Studio
    • Assimilate Live Looks and Live Assist
 

Colorfront Pipeline

  • Processing Based on Human Perception Model
  • Perceptually optimized color volume remapping
  • Preserves the original creative intent
  • TV Mode for applications such as television broadcast
  • Live Mode for applications such as broadcast, OTT, A/V
  • Input Video Dynamic Range/Color Gamut (varies by mode)
    • SDR BT.709 100 Nits
    • SDR Extended BT.709
    • PQ BT.2020 1000 Nits
    • PQ P3D65 1000 Nits
    • Hybrid Log Gamma BT.2100
    • HLG Extended BT.709
    • HLG Extended BT.2100
    • Sony S-Log3 S-Gamut3
    • Sony S-Log3 S-Gamut3 Cine
    • Sony S-Log3 BT.2020
    • ARRI Log C Wide Gamut
    • ARRI LogC4 Wide Gamut 4
    • Panasonic V-log
    • RED Log3G10 Wide Gamut
    • Canon Log 2
    • Canon Log 3
  • Output Video Dynamic Range/Color Gamut (varies by mode)
    • SDR BT.709 100 Nits
    • SDR Extended BT.709
    • PQ BT.2020 1000 Nits
    • PQ BT.2020 ConstrainP3
    • PQ P3D65 1000 Nits
    • Hybrid Log Gamma BT.2100
    • HLG Extended BT.709
    • HLG Extended BT.2100
    • Sony S-Log3 S-Gamut3
    • Sony S-Log3 BT.2020
    • ARRI Log C Wide Gamut
    • ARRI LogC4 Wide Gamut 4
  • TV Mode controls
    • Highlight management: Brightness, Highlight, Super Highlight
    • Colorfulness control for managing the Hunt Effect
    • Color Correction: Lift, Gamma, Gain, Saturation
    • Camera Correction: Exposure, Color Temp, Tint
    • Roundtrip control ensures technical match
    • Clamp to Legal
  • Live Mode controls
    • HDR Amount
    • Ambient Light Compensation control
    • HDR Log Look
    • SDR Softness control
    • Color Correction: Lift, Gamma, Gain, Saturation
    • Camera Correction: Exposure, Color Temp, Tint
    • PQ Output Nit level: 48-4000 Nit
    • PQ Output P3 Colorspace Clamp
    • ITU-R BT.2408 Mode control
  • Overlay
 

ORION-CONVERT Pipeline

  • Conversion algorithm that uses floating point math
  • Pre and post transform Knee and Amount controls
  • Display-Light and Scene-Light Modes
  • Configurable HDR and SDR IRE Reference anchor points
  • Configurable HDR Peak Nits sets system gamma for display light conversions
  • Gamma Compensation
  • Configurable Output Clamping
  • Input Video Dynamic Range/Color Gamut
    • SDR BT.709
    • PQ BT.2020
    • HLG BT.2100
  • Output Video Dynamic Range/Color Gamut
    • SDR BT.709
    • PQ BT.2020
    • HLG BT.2100
  • Overlay
 

BBC HLG LUTs Pipeline

  • Mathematical dynamic range mapping per ITU-R BT.2408
    • SDR/BT.709 Scene Referred to HLG/BT.2100 v1.6
    • SDR/BT.709 Scene Referred to HLG/BT.2100 Strict v1.6
    • SDR/BT.709 Scene Referred UpMap to HLG/BT.2100 v1.6
    • SDR/BT.709 Scene Referred UpMap to HLG/BT.2100 Strict v1.6
    • SDR/BT.709 Display Referred to HLG/BT.2100 v.1.6
    • SDR/BT.709 Display Referred UpMap to HLG/BT.2100 v1.6
    • SDR/BT.2020 Display Referred to HLG/BT.2100 v1.6
    • SDR/BT.2020 Display Referred UpMap to HLG/BT.2100 v1.6
    • PQ 1000 Nits Display Referred to HLG/BT.2100 v1.6
    • PQ 4000 Nits Display Referred to HLG/BT.2100 v1.6
    • S-Log3/BT.2020 100% Scene Referred to HLG/BT.2100 v1.6
    • S-Log3/BT.2020 200% Scene Referred(SR-Live) to HLG/BT.2100 v1.6
    • HLG/BT.2100 to SDR/BT.709 Scene Referred v1.6
    • HLG/BT.2100 to SDR/BT.709 Scene Referred Strict v1.6
    • HLG/BT.2100 to SDR/BT.709 Display Referred Color Appearance Model v1.6
    • HLG/BT.2100 to SDR/BT.709 Display Referred Super White v1.6
    • HLG/BT.2100 to PQ 1000 Nits Display Referred v1.6
    • HLG/BT.2100 to SDR/BT.2020 Display Referred Super White v1.6
    • SDR/BT.709 Scene Referred UpMap to HLG/BT.2100 to SDR/BT.709 Display Referred v1.6
  • RGB Color Corrector and ProcAmp
  • Overlay
 

NBCU LUTs Pipeline

  • NBCU LUTs developed by NBCUniversal Media, LLC
    • 1-NBCU_SDR2HLG_DL_v1.1, SDR UpMap to HLG using Display Light v1.1
    • 2-NBCU_SDR2HLG_SL_v1, SDR to HLG using Scene Light v1.0
    • 3-NBCU_HLG2SDR_DL_v1.1, HLG to SDR using Display Light v1.1
    • 4-NBCU_SDR2PQ_DL_v1, SDR UpMap to PQ using Display Light v1.0
    • 5-NBCU_PQ2SDR_DL_v1, PQ to SDR using Display Light v1.0
    • 7-NBCU_HLG10002PQ_v1, HLG 1000 Nits to PQ v1.0
  • RGB Color Corrector and ProcAmp
  • Overlay
 

Video Input and Output SDI

  • 1x 12G-SDI Input BNC, SMPTE-292/424/2081/2082
  • 2x 12G-SDI Output BNCs, SMPTE-292/424/2081/2082
  • YCbCr 4:2:2/4:4:4
  • RGB 4:4:4, SMPTE or Full level
  • 10 or 12-bit
  • 1x 12G-SDI
    • (4K) 4096x2160p 23.98, 24, 25, 29.97, 30, 47.95, 48, 50, 59.94, 60
    • (UltraHD) 3840x2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
  • 1x 6G-SDI
    • (4K) 4096x2160p 23.98, 24, 25, 29.97, 30
    • (UltraHD) 3840x2160p 23.98, 24, 25, 29.97, 30
  • 1x 3G-SDI (Level A or B-Dual Link)
    • (2K) 2048x1080p 23.98, 24, 25, 47.95, 48, 50
    • (2K) 2048x1080PsF 23.98, 24, 25
    • (HD) 1920x1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
    • (HD) 1920x1080PsF 23.98, 24, 25, 29.97, 30
    • (HD) 1920x1080i 50, 59.94, 60
    • (HD) 1280x720p 50, 59.94, 60
  • 1x 1.5G-SDI
    • (2K) 2048x1080p 23.98, 24, 25, 29.97, 30
    • (2K) 2048x1080PsF 23.98, 24, 25
    • (HD) 1920x1080p 23.98, 24, 25, 29.97, 30
    • (HD) 1920x1080PsF 23.98, 24, 25, 29.97, 30
    • (HD) 1920x1080i 50, 59.94, 60
    • (HD) 1280x720p 50, 59.94, 60

  Note: Raster and Frame Rate Dependent, please see ColorBox Video Formats in Documents and Manual

 

Video Output HDMI

  • 1x HDMI Type A connector*, HDMI v2.0b
  • HDR infoframe generation with pass-through for Colorimetry and Transfer Characteristic
  • YCbCr 4:2:2
  • RGB 4:4:4, SMPTE or Full level
  • 8, 10, or 12-bit (HFR 4K/UltraHD 4:4:4 limited to 8-bit)
  • 4K/UltraHD/2K/HD

  *If a connected monitor doesn’t support HDMI protocol the unit automatically switches to DVI protocol (which does not pass audio) Note: Raster and Frame Rate Dependent, please see ColorBox Video Formats in Documents and Manual

 

Video Processing

  • Nominal video delay is less than 1/2 video line
  • Motion adaptive deinterlacer
  • Proc Amp controls
  • Color corrector
  • Legalizer
 

Frame Store

  • Capture and Recall up to 4K/UltraHD 16-bit .TIFF
  • Capture and Recall .TIFF, .PNG, .JPEG
  • Capture input or output
  • Nonvolatile storage of 16 images
 

Test Pattern Generator

  • 10 or 12-bit
  • 14x patterns built-in
  • SDR and HDR test patterns
 

Ancillary Data

  • All embedded ANC packets pass-through, including camera ancillary data
 

Overlay

  • User Text
  • Input and Output ancillary information, including VPID
  • Timecode presence
  • Closed Captioning presence
  • Pipeline Configuration
  • User Overlay, Recall .PNG overlay images up to 4096×2160
  • Nonvolatile storage of 16 overlays
 

Audio Input Digital

  • SDI embedded audio, 24-bit, 16-channel
 

Audio Output Digital

  • SDI embedded audio, 24-bit, 16-channel
  • HDMI embedded audio, 24-bit, 8-channel
 

Network Interface

  • 1x RJ-45, 10/100/1000 Ethernet
  • Embedded web server for remote control
  • REST Interface
  • WiFi control available via 3rd party WiFi USB adapter*

  *Linksys AC1200 WUSB6300 and Netgear AC1900 A7000

 

USB Interface

  • 1x Mini-USB for IP configuration using AJA eMini-Setup
 

Presets

  • 10 Pipeline Presets per mode (AJA Color, Colorfront, ORION-CONVERT, BBC HLG LUTs, NBCU LUTs)
  • Startup Preset
 

Size (w x d x h)

  • 4.10″ x 7.54″ x 1.66″ (104.1 x 191.6 x 42.1 mm)
 

Weight

  • 1.0 lb (0.5 kg)
 

Power

  • External power supply required
  • Enclosure: 10-18VDC regulated, 4-pin mini-XLR, 16W typical 3G-SDI, 21W typical 12G-SDI, 25W max.
  • AC Adapter, included: 100-240VAC, 50/60 Hz, universal input, 60W
  • Optional spare AC adapter sold separately, AJA-PWR-12-60W
 

Environment

  • Safe Operating Temperature: 0 to 50 C (32 to 122 F)
  • Safe Storage Temperature (Power OFF): -40 to 60 C (-40 to 140 F)
  • Operating Relative Humidity: 10-90% noncondensing
  • Operating Altitude: <3,000 meters (<10,000 feet)

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