1 / 37

Digital Cinema Standards

THOMSON Broadcast & Media Solutions. Digital Cinema Standards. Dave Bancroft Thomson Broadcast & Media Solutions IBC 2003. Digital Cinema Standards. Questions deserving answers What is “digital cinema”? Why are standards needed? Who are the players in the game and what are they up to?.

neylan
Download Presentation

Digital Cinema Standards

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. THOMSON Broadcast & Media Solutions Digital Cinema Standards Dave Bancroft Thomson Broadcast & Media Solutions IBC 2003

  2. Digital Cinema Standards • Questions deserving answers • What is “digital cinema”? • Why are standards needed? • Who are the players in the game and what are they up to?

  3. Conventional Cinematography Laboratory Services (photo-chemical production) Conventional Cinema What is Digital Cinema?

  4. Digital Cinematography Digital Cinema Laboratory Services (photo-chemical production) Digital Motion Picture Production Film Rec Film Scan What is Digital Cinema? Conventional Cinematography Conventional Cinema

  5. Digital Motion Picture Production Film Rec Film Scan What is Digital Cinema? Digital Cinematography Digital Cinema Conventional Cinematography Conventional Cinema

  6. Digital Motion Picture Production What is Digital Cinema? Digital Cinematography Digital Cinema

  7. Digital Motion Picture Production What is Digital Cinema? Digital Cinematography Digital Cinema

  8. Film Scan Film Rec What is Digital Cinema? Digital Cinematography Digital Cinema (distribution/ exhibition) Digital Motion Picture Production Digital Motion Picture Production Conventional Cinematography Conventional Cinema

  9. Why are standards needed? • 35 mm release print precedent • single standard - worldwide compatibility • unlike television ! • “worldwide digital 35 mm release print” ? • please, no 50Hz / 60Hz divide ! • please, no 23.976 Hz or 59.94 Hz • please, no drop frame!

  10. Who are the players? • Society of Motion Picture and Television Engineers (SMPTE) - DC28 committee • due process standards-creation forum • Digital Cinema Initiative (DCI) • user input to standards process • European Digital Cinema Forum (EDCF) • user input to standards process • content & distribution alternatives • others?

  11. DCI user requirements ? EDCF What are they doing? SMPTE DC28

  12. SMPTE DC28

  13. Digital Cinematography Digital Cinema (distribution/ exhibition) Digital Motion Picture Production Digital Motion Picture Production Conventional Cinematography Conventional Cinema Film Scan Film Rec Digital Cinema Distribution Master (DCDM) Digital Source Master (DSM) What isSMPTE Digital Cinema?

  14. What isSMPTE Digital Cinema? Digital Cinema Distribution Master (DCDM) Digital Cinema (distribution/ exhibition) on Picture Conventional

  15. What isSMPTE Digital Cinema? Digital Cinema Distribution Master (DCDM) Digital Cinema (distribution/ exhibition) Distribution Exhibition on Picture Conventional

  16. What isSMPTE Digital Cinema? DCDM Mastering Distribution Exhibition

  17. Encryption Transport Projection Audio First-RoundDC28 Work DCDM Mastering Distribution Exhibition (DTIM) Compression Theater Systems Colorimetry Packaging

  18. 1st Round - DTIM versus DCDM • DTIM (digital theater interim master): • 1920 x 1080 • 4:2:2 • 1.85:1 and 2.4:1 aspect ratios • “wide” colour space • 24p only (maybe 23.98p for post compatibility) • DCDM (Digital Cinema Distribution Master) • “embracing image parameters extending well beyond HD”

  19. SMPTE DC28 Redux

  20. DC28 Technology Committee Overview Ad Hoc Group Mastering DC28.10 Distribution DC28.20 Exhibition DC28.30 DSM DCDM DSM DCDM working groups Compression Subtitling (DTIM) Encryption Sub-pictures Theater Systems Transport Projection Audio mastering Audio DCDM-1 Encryption Key Management Packaging Link Encryption DTIM ad hoc groups Segmentation Projector Interface Sub-picture Proj. Luminance Timed Text Colour Image Encoding Proj. Measurement

  21. DTIM • For field trials, demos • Unification of techniques to allow “apples for apples” comparisons • NOT intended for the actual D-Cinema rollout

  22. DCDM • Digital Cinema Distribution Master

  23. DCDM-1 Container Common container principle Accommodating different aspect ratios - examples active pixels

  24. 1.85 2.39 DCDM-1 Container 2:1 Storaro 2:1

  25. Y “gamut container” 1.00 0.80 gamut of some real display 0.60 y Encoding Primaries 0.40 x y X 1.0000 0.0000 Y 0.0000 1.0000 0.20 Z 0.0000 0.000 Z X 0.00 x 0.00 0.20 0.40 0.60 1.00 0.80 DCDM-1 Colorimetry • Wide colour gamut encoding/exchange primaries Coding Code value = 4095*([L/P]1/2.6) (12 bits per component) L = luminance value P = peak luminance

  26. ? What are they doing? DCI DCI user requirements SMPTE DC28 EDCF

  27. Digital Cinema Initiative (DCI) • Represents studio input to SMPTE DC28 process • DCI specification V2.0 (available on request) • further versions in pipeline • Seven Hollywood studios: • Disney • Fox • MGM • Paramount • Sony • Universal • Warner Bros • input from other parties • Content type - first run major feature movies

  28. DCI Work Items • Resolution, colour space, other image issues • Image compression • Audio issues • more channels • accessibility options • Security issues • Desire for MXF-compliant packaging • current SMPTE DC28.20 ballots

  29. Example - DCI Image Compression • Test different algorithms, various source types • ASC film tests • 35mm • 65mm • separate digital cinematography test • CG content test • Open to anyone who wants to participate

  30. DCI ? EDCF user requirements SMPTE DC28 EDCF EDCF

  31. EDCF • Technical Module (EDCF-T) • Commercial Module • Content Module • Technical Module (EDCF-T) • Commercial Module • Content Module

  32. EDCF-T • General remit: • collect and consolidate user inputs to formal standards bodies • cover additional areas • alternative content • alternative screening conditions and venues

  33. EDCF-T Service Levels • Multiple levels • present day TV up to SMPTE D-Cinema level • come to the EDCF-T meeting • IBC Conference Room O, Tuesday morning 0930 !

  34. DCI ? alternative content, alternative venues EDCF user requirements first-run major features SMPTE DC28 EDCF

  35. DCI ? EDCF Others? user requirements SMPTE DC28

  36. Conclusion • Standardisation must embrace widely varying requirements of users • first-run major features/large-scale venues • alternative content/alternative venues • Partial, not total, congruence between European and North American perspectives • Major effort in SMPTE, with user input from DCI, EDCF and many others

  37. Participation • SMPTE - http://www.smpte.org • sign up as a participant or observer • physical or electronic participation • next meetings: Encino (LA) October 7-8 • EDCF – • come to meeting tomorrow - 09:30 Room O !

More Related