Color and Mastering for Digital CinemaColor and Mastering for Digital Cinema explores the implications for motion picture post production processes and changes required to the supporting equipment and software. While a new concept to the motion picture community, the selection of the wide gamut, output-referred XYZ color space for digital cinema distribution is based on decades of color science and experience in other industries. The rationale for choosing XYZ and the other color encoding parameters is explained and the book also provides a full case study of the development 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 * Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology * Descriptions of key issues and background on decisions that were made in the standardization process By Glenn Kennel, Glenn Kennel is VP/GM of Feature Film Services at Laser Pacific Media Corporation, a leading provider of a full range of post production services for 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 year career with Kodak, he led the development of the Cineon digital film scanners and laser recorders and the prototype 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. |
Contents
1 Overview of Color and Mastering for Digital Cinema | 1 |
2 Color in Motion Picture Film | 9 |
3 Color Space for Digital Cinema | 33 |
4 Transfer Function | 47 |
5 Reference Projector and Environment | 67 |
6 Digital Mastering | 85 |
7 Color Encoding for Digital Cinema Distribution | 105 |
Other editions - View all
Common terms and phrases
additive applied approach blue brightness calculations calibrated camera Chapter characteristics chromaticity code values color gamut color grading compared contrast contrast ratio conversion correction curve cyan D-ILA DCDM defined density described digital cinema digital cinema distribution display DLP Cinema effect encoding equations equipment experience exposure Figure format frame gamma glasses grading green higher implemented important improvements input intermediate lamp light linear look luminance mastering match matrix means measured modulation motion picture negative negative film normalized observers operation original output patches picture practice presentation primaries print film produce projection range recording Reference Projector relative release represents resolution resulting scene screen shows signal SMPTE space specification standard step Table television theater traditional typical viewing visual white point wide