By Glenn Kennel
Colour and studying for electronic Cinema explores the results for movie put up creation tactics and adjustments required to the aiding apparatus and software program. whereas a brand new notion to the movie group, the choice of the huge gamut, output-referred XYZ colour house for electronic cinema distribution relies on a long time of colour technological know-how and adventure in different industries. the explanation for selecting XYZ and the opposite colour encoding parameters is defined and the ebook additionally presents an entire case examine of the advance of DLP Cinema?® projectors by means of Texas tools. eventually, this e-book explores how the XYZ colour encoding suggestion may be prolonged to help more suitable show applied sciences within the future.This e-book contains:* terrific 4-color illustrations that go with the colour technology factors * by no means earlier than released details from writer Glenn Kennel, an international chief in electronic cinema colour know-how * Descriptions of key concerns and history on judgements that have been made within the standardization processBy Glenn Kennel, Glenn Kennel is VP/GM of characteristic movie prone at Laser Pacific Media company, a number one supplier of an entire diversity of submit creation companies for tv and have movie. lately, he labored for the DLP Cinema workforce of Texas tools in a job that integrated know-how and company improvement. formerly, in a twenty yr profession with Kodak, he led the advance of the Cineon electronic movie scanners and laser recorders and the prototype HDTV telecine that grew to become the Spirit Datacine. As a specialist, he helped DCI draft the technical requirements for electronic cinema. Kennel additionally chairs the SMPTE DC28 colour advert hoc staff and the DC28.20 Distribution operating workforce. 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. * awesome 4-color illustrations praise the colour technology motives* by no means ahead of released info from writer Glenn Kennel, an international chief in electronic cinema colour know-how* This publication describes the main matters and offers history on judgements that have been made within the standardization procedure
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Additional info for Color and Mastering for Digital Cinema (Digital Cinema Industry Handbook Series)
Therefore, it would require no changes to existing products or to the installed base of first generation DLP Cinema® projectors. However, Parametric RGB encoding relies on metadata, and if the metadata is lost or incorrectly interpreted the color of the displayed picture would be ambiguous and could be impaired if the right presentation choices were not made. So, this approach is not robust. At some point in the discussions, it was pointed out that rather than argue over which set of wide gamut color primaries to use, the group could just select the widest gamut set—the CIE 1931 color primaries.
Based on measurements and extensive testing with colorists and cinematographers, the engineers at Texas Instruments used trim filters to narrow the response of the red, green and blue channels of the projector and expand its gamut substantially in red and green in order to more closely match film. It helped that the DLP® projectors used the same Xenon lamps as traditional film projectors, with a stable and continuous spectral output. However, trimming the color spectrum of the red and green channels traded off light output, so additional work had to be done to make the illumination system more efficient.
It is important to note that this represents the maximum sequential contrast ratio that can be reproduced by a typical print film, from the brightest white (D-min) to the darkest black (D-max) and that these conditions are never achieved within a single frame. A very high contrast picture may exhibit an intra-frame contrast of only 200:1. So the deeper blacks are most readily seen (and have the greatest impact) as the picture fades to black. Dailies, Answer Prints and Release Prints During the production process, film negatives are processed each night and printed for review the next morning, a process called “Dailies” or “Rushes”.
Color and Mastering for Digital Cinema (Digital Cinema Industry Handbook Series) by Glenn Kennel