digital cinema standards
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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?. - PowerPoint PPT PresentationTRANSCRIPT
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Digital Cinema Standards
Dave BancroftThomson Broadcast & Media Solutions
IBC 2003
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Digital Cinema Standards
• Questions deserving answers
1. What is “digital cinema”?
2. Why are standards needed?
3. Who are the players in the game and what are they up to?
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What is Digital Cinema?
ConventionalCinema
ConventionalCinematography
Laboratory Services(photo-chemical production)
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Laboratory Services(photo-chemical production)
ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
Digital Motion Picture Production
Film Rec
Film Scan
DigitalCinematography
DigitalCinema
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ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
DigitalCinematography
Digital Motion Picture Production
Film Rec
Film Scan
DigitalCinema
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What is Digital Cinema?
DigitalCinematography
Digital Motion Picture Production
DigitalCinema
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What is Digital Cinema?
DigitalCinematography
Digital Motion Picture Production
DigitalCinema
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ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
DigitalCinematography
DigitalCinema
(distribution/exhibition)
Digital Motion Picture Production
Film Scan
Film Rec
Digital Motion PictureProduction
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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!
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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?
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What are they doing?
SMPTEDC28
?
DCI
EDCF
userrequirements
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SMPTE DC28
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What is SMPTE Digital Cinema?
DigitalSourceMaster(DSM)
ConventionalCinema
ConventionalCinematography
DigitalCinematography
DigitalCinema
(distribution/exhibition)
Digital Motion Picture Production
Film Rec
Film Scan
Digital Motion PictureProduction
DigitalCinema
DistributionMaster
(DCDM)
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What is SMPTE Digital Cinema?
DigitalCinema
(distribution/exhibition)
DigitalCinema
DistributionMaster
(DCDM)
Conventional
on Picture
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What is SMPTE Digital Cinema?
DigitalCinema
(distribution/exhibition)
DigitalCinema
DistributionMaster
(DCDM)
Conventional
on Picture
Distribution Exhibition
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What is SMPTE Digital Cinema?
Distribution ExhibitionMasteringDCDM
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First-Round DC28 Work
Distribution ExhibitionMasteringDCDM
Compression
Encryption
Transport
Audio
Theater Systems
Projection
Colorimetry
Packaging
(DTIM)
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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”
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SMPTE DC28 Redux
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DistributionDC28.20
ExhibitionDC28.30
MasteringDC28.10
DCDMCompression
Encryption
Transport
Audio
Theater Systems
Projection
Overview Ad Hoc Group
(DTIM)
DSM DSM DCDM
Subtitling
Sub-pictures
Audio mastering
Colour Image Encoding
DTIM
DCDM-1
Sub-picture
Timed Text
Encryption
Packaging
Segmentation
Key Management
Link Encryption
Projector Interface
Proj. Measurement
Proj. Luminance
ad hocgroups
workinggroups
DC28 Technology Committee
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DTIM
• For field trials, demos• Unification of techniques to allow “apples for
apples” comparisons• NOT intended for the actual D-Cinema rollout
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DCDM
• Digital Cinema Distribution Master
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DCDM-1 Container
X Pixels Y Pixels
Container Aspect Ratio
Pixel Aspect Ratio
Total M PELS
Fram e Rate
4096 2048 2.00 1 8.3886 24.0000
Common container principle
X Pixels Y Pixels
Image Aspect Ratio
Pixel Aspect Ratio
Total M PELS
Frame Rate
2724 2048 1.33 1 5.5784 24.00003400 2048 1.66 1 6.9625 24.00003790 2048 1.85 1 7.7619 24.00004096 2048 2.00 1 8.3886 24.00004096 1714 2.39 1 7.0198 24.0000
Accommodating different aspect ratios - examples
active pixels
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2:1
DCDM-1 Container
1.85
2.39
Storaro2:1
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DCDM-1 Colorimetry• Wide colour gamut encoding/exchange primaries
EncodingPrimaries x y
X 1.0000 0.0000
Y 0.0000 1.0000
Z 0.0000 0.000
1.00
0.80
0.60
0.40
0.20
0.000.00 0.20 0.40 0.60 0.80 1.00x
y
X
Y
Z
“gamut container”
CodingCode value = 4095*([L/P]1/2.6)(12 bits per component)L = luminance valueP = peak luminance
gamutof some
realdisplay
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What are they doing?
SMPTEDC28
?
userrequirements
DCI
EDCF
DCI
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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
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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
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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
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EDCF
SMPTEDC28
?
userrequirements
DCI
EDCFEDCF
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EDCF
• Technical Module (EDCF-T)• Commercial Module • Content Module
• Technical Module (EDCF-T)• Commercial Module • Content Module
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EDCF-T
• General remit:– collect and consolidate user inputs to formal
standards bodies
– cover additional areas• alternative content• alternative screening conditions and venues
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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 !
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EDCF
SMPTEDC28
?
userrequirements
DCI
EDCF
alternative content, alternative venues
first-run major features
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Others?
SMPTEDC28
?
userrequirements
DCI
EDCF
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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
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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 !