Part A: Online Dolby Vision Individual Certification Test
Part A: Online Dolby Vision Individual Certification Test
Privacy Notice: By submitting the information on this test, you agree that: Dolby may use your personal information to: (i) grade your certification test, (ii) communicate to you about your certification application, and (iii) place information about your certification on dolby.com if requested. Dolby may process your personal information as further described in our Privacy Policy at Dolby Privacy Policy
Accept
Trademark Useage: Upon payment of the certification fee and receipt of the certification, Dolby will provide you with access to its relevant certification marks and associated use guidelines (“Marks”) for you to use, as an individual, to indicate that you successfully completed the Dolby Vision Certified Professional assessment. You may not sub-license or grant any rights you obtain in or to the Mark to any third party. You acknowledge that you have no ownership rights in the Marks and agree that: (a) you will take no action, directly or indirectly or through cooperation with any third party, to challenge the validity or ownership of any Dolby trademarks; (b) any rights that may subsequently accrue in the Mark as a result of your activity will inure to the benefit of Dolby; and (c) you will not file any application for registration of the Mark or any Dolby trademark symbol or phrase, in any language, which is confusingly similar to the Mark. Dolby may revoke your use of the Marks at any time and at Dolby’s sole discretion, for any reason.
Accept
Please provide the required contact information below:
Order Number | |
Have you taken the instructor-led or self-guided Dolby Vision Training? | |
Full Name | |
Email Address | |
Telephone Number | |
Company (if applicable) | |
Street Address | |
City | |
State/Province | |
Zip/Postal Code | |
Country |
Should certification be successfully granted we would like to include you within our online list of Dolby Certified Vision Professionals on Dolby.com.* Please confirm if you want to be included on this list:
(*)The list of Dolby Certified Vision Professionals includes Name, Email, Phone Number, City, Country, and the following optional data Job Title/Role, Associated Facility, IMDb Link and Website.
Yes, please include me
No, do not include me
If you would like to be included within our online list of Dolby Certified Vision Professionals, please consider providing the following optional information:
(Enter N/A if you do not wish to provide this information)
Associated Facility | |
IMDb Link | |
Website |
Select the applicable Job Role/Title:
Colorist
Color Scientist
Facility Engineer
Mastering Packaging Engineer
QC Engineer
Post Producer
Post Production Supervisor
Other
The Dolby Vision Individual Certification application is limited to two submissions (initial submission and one resubmission), please ensure you take the time needed to complete the test.
This is an open book test, and you can refer to any notes or resources as you proceed. You have 90 days from date of purchase to complete the Certification application process. For complete self-guided training covering the information needed to complete the test successfully, please go to learning.dolby.com.
Select Next to begin the test
The Dolby Vision Individual Certification application is limited to two submissions (initial submission and one resubmission), please ensure you take the time needed to complete the test.
This is an open book test, and you can refer to any notes or resources as you proceed. You have 90 days from date of purchase to complete the Certification application process. For complete self-guided training covering the information needed to complete the test successfully, please go to learning.dolby.com.
Select Next to begin the test
Are Dolby Trims required on every shot?
Yes, they are mandatory
No, they are optional
Dolby Vision Trims can be:
Copied and pasted from one shot to another
The same for several consecutive shots
The same for an entire scene
All of these options
Text and titles created in SDR (Gamma), when viewed in HDR (PQ) without proper transformation, can look:
Much darker than originally intended
Much brighter than originally intended
Just right
A grey patch that registers as 50% on a PQ waveform monitor (scopes), would approximately display on a calibrated PQ monitor as:
1,000 Nits
500 Nits
100 Nits
None of these options
When delivering content in Rec 2020 it is important to consider that:
Your mastering monitor may not be able to represent 100% of the Rec 2020 gamut
The Dolby Vision XML and Video file must match in color encoding
You should limit the Gamut to P3 primaries to maintain an accurate representation of the color
All of these options
L1 Metadata describes:
The color gamut of the content
The luminance levels of each shot
The aspect ratio of the content
The type of content
L2 and L8 Metadata describes:
The luminance levels of each shot
The aspect ratio of the content
The mastering monitor description
The trims that the colorist created
L0 Metadata describes:
The aspect ratio of the content
The luminance levels of each shot
The mastering monitor description
The Max FALL and Max CLL
You created your HDR master on a 1,000 nit HDR monitor. You should NOT trim for:
100 Nit (SDR Rec 709)
300 Nit (Custom Target HDR)
600 Nit (HDR)
1,000 Nit (HDR)
L1 Metadata:
(Select all that apply)
Is mandatory for each Shot or Frame
Is optional
Can be customized by the user
Should not be copied to all the Shots on the Timeline
Can be offset using the 'Mid Tone Offset' control (L3)
Setting the Aspect Ratio (Output Blanking) incorrectly can result in:
Incorrect analysis and L1 values
Incorrect metadata
Potentially lifted letterboxes during playback
All of these options
L1 Metadata:
(Select all that apply)
Should be calculated individually for all shots using the Dolby Vision analysis
Is optional
Should be tricked analyzing a test pattern and then copying its values to all shots
Should be copied from one shot to several scenes
Can be copied from one shot to another for limited use cases
Dolby Vision CMv. 4.0 offers:
Improved mapping algorithms
Additional primary trim controls
Added secondary color trim controls
All of these options
If my HDR Mastering Monitor is only capable of 1,000 nits and the request from the studio is for a 4,000 nit master, should I select my Mastering Monitor in the Dolby Vision settings as 4,000 nits?
Yes
No
Using postive Lift (above Dolby's recommended value of +0.025) on letterboxed content may result in:
Lifted blacks on the Letterbox area on TVs and devices
Metafier validation warning
Rejection by the client
All of these options
HDMI Tunneling is a feature that should NOT be used for:
Dolby Vision QC
Dolby Vision Color Grading & Trim Pass
Dolby Vision Consumer Preview
HDR Client Monitoring
Dolby Vision Remote Review and Approval
You should NOT use a Dolby Vision or HDR Consumer TV for color grading Dolby Vision content because:
It does not meet the minimum requirements as specified by Dolby
It is not accurate enough to be used as a professional reference monitor
Consumer TVs have shortcomings and inconsistencies on various issues such as luminance uniformity, PQ tracking, etc
All of these options
Please select the timeline working space for color grading that is NOT recommended when creating Dolby Vision:
Native Camera Working Space
ACES
P3 D65 PQ
SDR BT 1886
What is the primary purpose of the CMU?
It creates the Dolby Vision Metadata
It emulates the Dolby Vision mapping process for preview, creative modification and approval
It is the License that enables the Dolby Vision process
It creates the Dolby Vision Mezzanine/IMF
Aspect Ratio and/or Output Blanking can be set:
Globally for the project
Shot by shot
Both of these options
Output Blanking and/or Aspect Ratio must be set:
Before the HDR Grade
Before the Dolby Vision Analysis
Before the Dolby Vision Trim Pass
In Mastering/Packaging
It is not advised to update an existing Dolby Vision XML using which method?
A Mastering/Packaging system like Clipster, Transkoder, etc.
A Text Editor
Metafier
The Color Corrector's original project
If the client requests L2 metadata for more than one target, the colorist must FIRST create metadata for which target:
600 Nits
1,000 Nits
100 Nits Rec 709
None of these options
Which one of the following statements about CM versions is NOT true:
The colorist can switch between CMv4 and CMv2.9 during a project without losing metadata
CMv4 metadata can be backward compatible with CMv2.9
CMv4 contains many enhancements for mapping and artistic trims
The choice between CMv4 and CMv2.9 depends on the studio requirements
Dolby Vision content mapping:
Requires at least L1 metadata
Is performed by the CMU (iCMU or eCMU)
Is required to check the metadata applied to the image
All of these options
You want to create a text/graphic title that renders at white 100nit inside your HDR project. Working natively in PQ 10bit (0-1023), you select which code values for red, green and blue?
R = G = B = 512
R = G = B = 750
R = G = B = 100
You've finished your initial HDR grade and performed the Dolby Vision Analysis. Your client specifies a trim pass at SDR 100nit as well as at HDR 600nit. You first start with the:
100nit SDR target
600nit HDR target
Doesn't matter which one comes first
The most comprehensive and recommended way of checking or performing a QC of a Dolby Vision Master is:
A visual QC of the content mapped to a 100nit Rec.709 target
An XML editor
Metafier
Photon
When converting a Dolby Vision Master from one color space to another, the parameter in the Dolby Vision XML that must be changed is:
Color Encoding
Mastering Display
Target Displays
Trims
Before running the Dolby Vision analysis, the Mastering Monitor must be selected according to:
The final output/deliverables
The source material
The mastering display setting that is used during the HDR grade
The timeline/working color space
Dolby Vision metadata is normally created on a shot-by-shot basis. However, it is created frame-by-frame when:
(Select all that apply)
There is an animated trim being applied across a shot or section of the timeline. (Note: Not all color correctors support animated trims)
There is a dissolve or cross fade between two shots
Per shot aspect ratio setting
You want to convert an HDR10 asset into Dolby Vision when you don't have an EDL or cut list
The Color Encoding description in the Dolby Vision XML must match:
The display used to master the content
The working colorspace used for grading the content
The final render/output that will accompany the XML
The incoming source material used
A Dolby Vision Master should be delivered as:
P3D65 only
Rec2020 (limited to P3) only
Rec2100 HLG
P3D65 or Rec2020 (according to the delivery specs from the studio/client)
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