Color and Mastering for Digital Cinema by Glenn Kennel

By Glenn Kennel

Colour and gaining knowledge of for electronic Cinema explores the consequences for movie publish creation strategies and alterations required to the aiding gear and software program. whereas a brand new suggestion to the movie neighborhood, the choice of the broad gamut, output-referred XYZ colour area for electronic cinema distribution is predicated on many years of colour technology and event in different industries. the reason for selecting XYZ and the opposite colour encoding parameters is defined and the booklet additionally presents a whole case research of the advance of DLP Cinema® projectors by means of Texas tools. eventually, this publication explores how the XYZ colour encoding idea could be prolonged to aid more advantageous reveal applied sciences within the future.

This ebook contains:

* very good 4-color illustrations that flatter the colour technology motives

* by no means prior to released details from writer Glenn Kennel, a global chief in electronic cinema colour know-how

* Descriptions of key concerns and history on judgements that have been made within the standardization process

By Glenn Kennel, Glenn Kennel is VP/GM of characteristic movie providers at Laser Pacific Media company, a number one supplier of an entire variety of submit creation providers for tv and have movie. lately, he labored for the DLP Cinema crew of Texas tools in a job that integrated know-how and company improvement. formerly, in a twenty yr occupation with Kodak, he led the advance of the Cineon electronic movie scanners and laser recorders and the prototype HDTV telecine that turned the Spirit Datacine. As a expert, he helped DCI draft the technical necessities for electronic cinema. Kennel additionally chairs the SMPTE DC28 colour advert hoc crew and the DC28.20 Distribution operating crew. he's a SMPTE Fellow and has acquired the SMPTE magazine Award. he's additionally a member of the Academy of movie Arts and Sciences.

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Extra resources for Color and Mastering for Digital Cinema

Example text

6. 37) that sets the Y tristimulus value equal to the relative luminance in cd/m2 above black, and both the X and Z values are multiplied by the same constant. With this specification of the color, the following equations define the encoding transfer function where X, Y, Z are the tristimulus values above black. 37⎟⎠ ⎥ ⎢ ⎥⎦ ⎢⎣ (3) CVX ′ 47 48 4. 6 selected? Why was twelve bits (4096 discrete code values) selected to quantize the signal range? To answer these questions, we need to consider the contrast sensitivity of the human visual system.

When the full movie is finished and approved, this final print is called an “Answer Print”. This answer print is the highest quality print that will ever be screened as it is struck directly from the original negative. Film prints are duplicated for distribution by creating intermediate elements, using color intermediate stock, that are used for high speed release printing. The first step is to make an InterPositive or “timed IP”, so called because the timing lights from the answer print are used to make a color-corrected positive intermediate.

6 selected? Why was twelve bits (4096 discrete code values) selected to quantize the signal range? To answer these questions, we need to consider the contrast sensitivity of the human visual system. XYZ colorimetry is linear by definition, representing luminance levels that are proportional to the light on the screen. Linear light encoding is convenient for image synthesis and computer graphics because the underlying physics and shading models are linear. However, linear encoding does not match the response of the human visual system, which is approximately logarithmic in nature.

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