Color and Mastering for Digital Cinema

Color and Mastering for Digital Cinema explores the supporting equipment and software. Stock photography XYZ color space for digital cinema in the world. The rationale for choosing XYZ provides a full case study of DLP Cinema® projectors by Texas Instruments. Finally, this book explores how the XYZ color encoding concept can be extended to support enhanced display technologies in the future.

This book contains:

* Brilliant 4-color illustrations that compliment the color science explanations

* Glenn Kennel, a world leader in digital cinema color technology

* Descriptions of key issues

By Glenn Kennel, Glenn Kennel is a leading provider of television and feature film. Recently, he worked for the DLP Cinema group of Texas Instruments in a role that included technology and business development. Previously, in a twenty years career with Kodak, he led the development of the Cineon digital film scanners and laser recorders. The HDTV telecine that became the Spirit Datacine. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group and the DC28.20 Distribution working group. He is a SMPTE Fellow and has received the SMPTE Journal Award. He is also a member of the Academy of Motion Picture Arts and Sciences.

* Brilliant 4-color illustrations. Compliment the color science explanations

* Glenn Kennel, a world leader in digital cinema color technology

* This book deals with the standard issues process

Objectives
- Universal distribution master
- Based on open standards
- Device Independent
- Extensible as technology advances
- Compatible with today's film distribution
> Screen luminance 14 ft L
> White point 0.314 0.351 based on Xenon practice

Color Space
- Options considered
- Why XYZ was chosen
- Explanation of CIE color and xy diagrams
- Image state - output referenced

Transfer Function
- Why gamma 2.6
- Why 12 bits
- Contrast Sensitivity test
- Full range
- Normalization to support other white points

Reference Projector and Environment
- Reference Projector
- Environment
- Calibration
- Projector Measurements

Digital Intermediate Process
- Film and digital raw inputs
- Centric workflow - printing density film
- Print Film Emulation in reference display
- Color Transforms is XYZ
- Impact on color correctors and other equipment or software
- Output related encoding
- Metadata on reference projector


Color Transformations
- ICT in JPEG 2000
- Color transform to RGB in the projector
- Color calibration in-situ
- Gamut mapping in the projector
- Nature's tone mapping

DLP Cinema - a case study
- How DLP technology works
- Initial industry demonstrations
- Responding to creative requests
- Expansion of color gamut
- P7v2 is expedite video matching
- Color calibration in-situ
- 3D LUT for gamut mapping
- 3D LUT for film emulation
- Expansion of contrast ratio
- Cinelink® link encryption
- Cinecanvas® subtitles

Digital 3D Presentation
- Screen luminance requirement
- Impact on color appearance
- Dual link 4: 2: 2 interface
- Various presentation options:
> Dual projector; passive polarizers
> Single projector; active glasses
> Single projector with Z-screen; passive glasses
> Infitec color filters

The Future
- Impact of wider gamut light sources
- Gamut mapping requirements
- Impact of digital cameras
- 48 FPS for enhanced motion
- Will film distribution be phased out?
- Digital cinema centric workflow
- Color Appearance Modeling
- Auto color transforms for home video and other