• 12-bit 4:4:4 12G-SDI I/O for up to 4K/UltraHD HDR/WCG 30p
• 10-bit 4:2:2 12G-SDI I/O for up to 4K/UltraHD HDR/WCG 60p
• 12-bit 4:4:4 HDMI 2.0 output for up to 4K/UltraHD HDR/WCG 30p
• 10-bit 4:2:2 HDMI 2.0 output for up to 4K/UltraHD HDR/WCG 60p
• Ultra-low latency, less than ½ a video line
• Extensive AJA Color Pipeline built around the 33-point 3D LUT processor with tetrahedral interpolation
  • 7x nodes plus Overlay
    • 1x 3D LUT processor, user configurable as 3D LUT or Dynamic
    • 4x 1D LUT processors, user configurable as 1D LUT, Dynamic, or Color Corrector
    • 2x 3x3 Matrix processors, user configurable as 3x3 Matrix, Dynamic, or ProcAmp
  • Supports industry standard file types, no conversion to proprietary format required
  • Configurable Color Space, Range, and Transfer Characteristic
  • Full frame LUT processing
• Six Color Processing Pipelines
  • AJA Color
  • Colorfront (Free and Licensable option)
  • ORION-CONVERT (Licensable option)
  • BBC HLG LUT (Licensable option)
  • NBCU LUTs
  • ACES
• Down-convert 4K to 2K or UltraHD to HD via SDI and/or HDMI outputs
• 4K/2K Crop for HDMI output
• Video Preview in web user interface for confidence monitoring
• Built-in Frame Store
  • Up to 4K/UltraHD frame capture and recall 
  • Capture pre or post-processed images
• Test Pattern up to 4K/UltraHD, 14 test patterns built-in
• Overlay information on output
  • User Text
  • User Overlay
  • Input and Output signal information
  • Pipeline Configuration
  • Overlay can be captured with image for future reference
• Onboard library for file management
  • 16x 1D LUTs
  • 16x 3D LUTs
  • 16x 3x3 Matrices
  • 16x Images
  • 16x Overlays
  • 16x AMFs
• Preset Management, 10 per Pipeline plus Startup Preset
• HDR signaling metadata management
• ANC metadata pass-through
• Embedded audio pass-through, SDI 16-Ch and HDMI 8-Ch
• Support for ARRI Alexa 35's Wireless Video Optimized LogC4 (WVO)
• Compact; 4 units can fit in just 1RU 
• Ultra quiet fan operation suitable for on-set environments
• Lightweight, 1.0 lb (0.5 kg)
• Robust locking 4-pin mini-XLR power connector, DC power
• On/Off button so you can save power when not in use
• Select button used to bypass video processing
• Extensive API for third party control integrations
• Embedded web server for remote control
• Configure IP Address via USB port and supplied AJA eMini-Setup software for Windows and macOS
• Three year warranty

ColorBox offers key applications for modern workflows, including:

• 4K/UltraHD SDR and HDR pipelines for live television and concert production. OB trucks and other live event infrastructure can easily use ColorBox color correct signals and convert SDR signals to HDR and HDR to other delivery formats. The licensable Colorfront, ORION-CONVERT, and BBC HLG LUTs options, as well as the free built-in Colorfront transforms, ACES, and NBCU LUTs, provide all the necessary tools to manage HDR workflows and conversions. For hardware based control, SKAARHOJ and CyanView have integrated native control of ColorBox into their control panels.
• On-set look management and color grading for DITs or anyone in charge of ensuring that the content captured on-set will meet the needs of the Cinematographer, Director, colorist, costume and lighting designers, and editors on the production. A DIT can easily manage workflows to load multiple looks, make adjustments as needed, and save reference images (up to 4K) for dailies, postproduction, and later use. Pomfort Livegrade Pro and Studio, Assimilate Live Looks and Live Assist, as well as QTAKE Video Assist software integrate easily, offering native control of ColorBox in real time. The unique full frame processing capability of ColorBox eliminates partial frame LUT processing.
• Wherever the highest quality display monitor calibration is required for a production studio, rental house, on-set, live, or postproduction facility, ColorBox can help. OG-ColorBox features an extensive API that allows third parties, like Light Illusion ColourSpace and Portrait Displays Calman, to control the ColorBox Frame Store and its ability to output 12-bit RGB test patches for high quality monitor calibration applications.

ColorBox is just 4in. x 7.5in. (104.1mm x 191.6mm), requiring a small footprint on your desktop, or you can rack mount up to four ColorBox devices in just 1RU with AJA’s 1RU Utility Shelf for easy addition to both production and post installations in DIT carts, fly away kits and equipment racks. It is also lightweight at just 1 lb. (0.5kg), making it perfect for DIT and mobile applications.

The Academy Color Encoding System (ACES) is an industry standard for managing color throughout the life cycle of a motion picture or television production. From capture through editing, VFX, mastering, public presentation, archiving, and future remastering, ACES ensures a consistent color experience that preserves the creative vision.

ColorBox’s ACES color processing pipeline supports ACES workflows natively and can load and recall 16 AMF (ACES Metadata File) files onboard.

Additionally, ACES has recently given AJA and Pomfort the first joint product certification status for AJA’s ColorBox and Pomfort’s Livegrade for their support of ACES based workflows. The AJA ColorBox carries the official ACES Logo ensuring end-to-end ACES compatibility.

Learn more about ACES.

The Academy Color Encoding Systems, or ACES, has a long track record of creating a holistic approach to color management. Since its inception, ACES has worked with artists and vendors to build a system of color management that is comprehensive yet easy to use. Now, the AJA ColorBox makes it even easier with our newest color pipeline, the ACES pipeline, which carries the official ACES Logo ensuring end-to-end ACES compatibility.

The ColorBox ACES pipeline uses the ACES Metadata File (AMF). 

Definition of AMF from ACES: “AMF is the configuration file that allows a precise setup for an ACES pipeline. Besides this basic goal, AMF is also the tool of choice to transmit and exchange configuration parameters in order to ensure consistency within a workflow and across the entire ecosystem of tools that are used within that workflow.”

AMF workflows support an exchange of information that should allow for better interoperability of color throughout the filmmaking process. An AMF includes information needed for an ACES pipeline like the input transform, look transform, and output transform (for example, camera log > ACES where the look is applied > display output) into a single XML file that can then be easily distributed to others working on the project from on-set to post to final grade.

• Built on OpenColorIO (OCIO)
• Configurable ACES Input and Output Transforms
• Full bypass node for 12G-SDI and HDMI 2.0

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, Live, and SDR to Dolby Vision Preview Modes
• 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, enables 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

Set-ups can be easily replicated utilizing ColorBox preset import and export capabilities.

ColorBox processing takes no time at all. With total latency of less than ½ of a video line, a live signal can be processed and output in real time to meet the critical + - half line input timing requirement of most production switchers. This also reduces lip sync issues in live event productions where every frame counts and anywhere high quality, low latency video processing is required. Applications span from IMAG to LED Volumes to in-camera VFX and everywhere in between.

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.

In AJA Color Pipeline, the 1D LUTs can be configured as RGB Color Correctors and the 3x3 matrices as Proc Amps. 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 an RGB Color Corrector and Proc Amp prior to 3D LUT processing.

ColorBox offers the largest library capacity of any equivalent device in its class, providing a wealth of creative choices on-set 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. Sixteen onboard memory slots are available for each category of supported files; 1D LUTs, 3D LUTs, 3x3 Matrices, Images, Overlays, and AMFs.

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 transferring between ColorBox devices.

The ARRI ALEXA 35 camera captures 17 stops of dynamic range, 2.5 stops more than previous ARRI digital cameras. This expanded dynamic range is great for cinematographers. However, it cannot be contained in the LogC3; therefore, a new encoding had to be created, LogC4. LogC4 encodes the signal differently and appears as a very low contrast signal that some wireless transmitters and receivers aren’t able to properly process and results in banding artifacts.

Wireless Video Optimized LogC4 (WVO LogC4) is an intermediate encoding for ALEXA 35 SDI outputs that is designed to improve monitoring image quality when transmitting LogC4 over wireless video transmitters. The WVO encoding is an option built into the ALEXA 35. A matching ARRI WVO decoding LUT must be used after signal reception to reconstitute regular LogC4.

That’s where ColorBox comes in. The matching ARRI WVO decoding LUT is built into the 1D LUT options in the AJA Color, Colorfront, and ACES Pipelines. By having this built into the ColorBox, we are making LogC4 easier to deploy with existing equipment saving both time and money.

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 applies a 3D LUT, which simulates a film look and is monitored for the DIT over the HDMI 2.0 output, which could be down-converted to HD by ColorBox. 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. 3rd 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 4K or HD 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. As not all on-set monitors are 4K, ColorBox can down-convert its 4K/UltraHD SDI output to HD. 

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 used in-line 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 HDMI 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

In this production workflow, two ColorBoxes are being used in-line from the 12G-SDI output of 4K Camera A and 4K Camera B. A KUMO 3232-12G is being used to route the video. A laptop is being used to manage the ColorBoxes from a single desktop via easily accessible tabs or two browser windows side by side. The ColorBoxes are both connected to a single 12G-SDI monitor, again routed via the KUMO 3232-12G, where changes made inline can be seen and further adjustments made or saved as necessary. Both cameras can easily be matched, saving time and money in postproduction.

Download Workflow

"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." Pomfort Livegrade officially carries the ACES Logo and ColorBox is the perfect partner for an end-to-end ACES workflow.

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

QTAKE Video Assist software natively controls ColorBox as an external real time color processor utilizing the 33-point 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.