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Digital Cinema and SMPTEMatt BasfordAugust 11

Why use compression in Digital Cinema? 2048 x 1080 container = 2,211, ... Develop SMPTE engineering documents for digital cinema. The general scope as it applies to ...

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Digital Cinema and SMPTEMatt BasfordAugust 11

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    1. Digital Cinema and SMPTE Matt Basford August 11, 2008 Regal Entertainment Group

    2. D-Cinema System Workflow

    3. Mastering

    Digital Cinema Distribution Master (DCDM) Image: TIFF Audio: WAV Subtitles: PNG Color: 2D = 12 bit, 4:4:4, X’Y’Z’ 3D = 10 bit, 4:2:2, X’Y’Z’

    4. Compression

    In 2004 DCI selected JPEG2000 as the compression technology of choice for Digital Cinema. Why use compression in Digital Cinema? 2048 x 1080 container = 2,211,840 pixels Each pixel is represented by three 12-bit values 9.5 megabytes per frame 2 hour feature = 172,800 frames (24 fps) Uncompressed = 1.5 terabytes JPEG2000 Compression = 100 - 300 gigabytes

    5. Packaging

    Digital Cinema Package (DCP) Distribution package including individual clips and CPLs Composition Play List (CPL) XML “instructional document” for the player What to play and when to play it

    6. Current Architecture

    7. Proposed Architecture

    8. Security Workflow

    Public Key Encryption for Content Delivery

    9. Projection Technology

    SONY (4K) SXRD (Silicone X-tal (Crystal) Reflective Display) TEXAS INSTRUMENTS (2K) DLP (Digital Light Processing)

    10. SONY - SXRD

    Liquid Crystal on Silicon (LCoS)

    11. SONY - SXRD

    Liquid Crystal on Silicon (LCoS)

    12. SONY - SXRD

    Liquid Crystal on Silicon (LCoS) Liquid Crystal Display (LCD)

    13. SONY - SXRD

    14. SONY - SXRD

    (Basic LCoS Technology)

    15. SONY - SXRD

    (Generic LCOS Technology)

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    16. TEXAS INSTRUMENTS - DLP

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    17. TEXAS INSTRUMENTS - DLP

    18

    18. TEXAS INSTRUMENTS - DLP

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    19. TEXAS INSTRUMENTS - DLP

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    20. TEXAS INSTRUMENTS - DLP

    21. TEXAS INSTRUMENTS - DLP

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    22. TEXAS INSTRUMENTS - DLP

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    23. TEXAS INSTRUMENTS - DLP

    Standard 2D Imaging Screen Viewer Object Appears to be located on screen Both eyes see the same image Screen Viewer Stereoscopic Imaging Perceived Object Location Right-Eye Projected Image Left-Eye Projected Image Parallax 2.5” Screen Viewer Stereoscopic Imaging Perceived Object Location Right-Eye Projected Image Left-Eye Projected Image 2.5” Screen Viewer Stereoscopic Imaging Perceived Object Location at 8 Right-Eye Projected Image Left-Eye Projected Image 2.5” L1 R1 L1 R1 L2 R2 L2 R2 Ln Rn Ln Rn 3D Digital Cinema DLP Cinema® Projector HD-SDI HD-SDI Switching Polarizer (e.g. Real D ZScreen®) Frame Sync Signal Silver Screen (Polarization Preservation) 1.5 Gbps 1.5 Gbps 24 fps: L1, L2,… 24 fps: R1, R2,… Interleave & Frame Rate Mult Server (Left-Eye) Server (Right-Eye) R L Polarized Glasses 3D Digital Cinema RealD Zscreen®

    30. Digital Cinema Community

    ISDCF DCI NATO SMPTE

    31. Inter-Society Digital Cinema Forum (ISDCF)

    Open forum Studios, Exhibitors, Equipment Manufacturers, and Consultants Recommendations to SMPTE Encourage de facto standards Delivery format, naming convention, KDM delivery, etc.

    32. Digital Cinema Initiatives, LLC (DCI)

    Created in March, 2002 Joint Venture Disney, Fox, Paramount, Sony Pictures, Universal, and Warner Bros. Document voluntary specifications for an open architecture DCI Specification v1.2 (March 07, 2008) DCI Compliance Testing - TBD

    33. Nation Association of Theatre Owners (NATO)

    Represents 29,000+ movie screens in 50 countries Technology Task Force (nato-tech) Technology representatives from exhibition community Develop supplemental DC requirements Digital Cinema System Requirements v2.0 (Feb 27, 2008)

    34. DC28 History

    2000-2003 Assessment of end-to-end process Mastering, compression, copy protection, transport, audio, theater systems, and projection. Evaluation of various market-place experiments Determination of additional necessary standards Leverage existing standards elsewhere

    35. DC28 History (cont.)

    2003-current Standards authoring began in earnest 28 published documents 11 documents in progress 2 active Working Groups Identify requirements and specifications for digital cinema and modify/create draft documents for balloting at DC28. Mastering – DC28.10 Exhibition – DC28.30

    36. DC28 = 21DC

    ST-13 Aylsworth ED MP Allen ED TV Edge Essence (Content) Barton / Ackermans Film Application Miller F2 P3 L6 A12 WG28.10 WG28.30 Television Application Dayton / Dolan Metadata/ Registries Infrastructure Cox/Tudor Files Infrastructure Santos / Rohaly Network/Fac Infrastructure Waddell / Lennon D-Cinema Application Schnuelle / Hurst

    37. DC28 = 21DC

    D-Cinema Application Schnuelle / Hurst 21.10 Mastering WG 21.30 Exhibition WG Stereoscopic Metadata AHG Packaging AHG

    38. 21DC

    Charter Develop SMPTE engineering documents for digital cinema The general scope as it applies to application of mastered essence to theatrical digital distribution, including compression, encryption, wrapping, marking, packaging, media, logging, playout, projection, reproduction, and related topics. Identify key systems and technology issues Develop and recommend an approach to digital cinema Identify, establish and coordinate necessary working groups to achieve overall digital cinema objectives

    39. 21DC Current Projects

    40. Questions

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