Color and Mastering for Digital Cinema

Glenn Kennel

  • 出版商: Focal Press
  • 出版日期: 2006-10-16
  • 售價: $6,390
  • 貴賓價: 9.5$6,071
  • 語言: 英文
  • 頁數: 208
  • 裝訂: Hardcover
  • ISBN: 0240808746
  • ISBN-13: 9780240808741
  • 海外代購書籍(需單獨結帳)

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Description

Color and Mastering for Digital Cinema explores the implications for motion picture post production processes and changes required to the supporting equipment and software. While a new concept to the motion picture community, the selection of the wide gamut, output-referred XYZ color space for digital cinema distribution is based on decades of color science and experience in other industries. The rationale for choosing XYZ and the other color encoding parameters is explained and the book also provides a full case study of the development of DLP Cinema® projectors by Texas Instruments. Finally, this book explores how the XYZ color encoding concept can be extended to support enhanced display technologies in the future.

This book contains:

  • Brilliant 4-color illustrations that compliment the color science explanations

  • Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology

  • Descriptions of key issues and background on decisions that were made in the standardization process

    By Glenn Kennel, Glenn Kennel is VP/GM of Feature Film Services at Laser Pacific Media Corporation, a leading provider of a full range of post production services for television and feature film. Recently, he worked for the DLP Cinema group of Texas Instruments in a role that included technology and business development. Previously, in a twenty year career with Kodak, he led the development of the Cineon digital film scanners and laser recorders and the prototype HDTV telecine that became the Spirit Datacine. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group and the DC28.20 Distribution working group. He is a SMPTE Fellow and has received the SMPTE Journal Award. He is also a member of the Academy of Motion Picture Arts and Sciences.
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    Table of Contents

    Objectives
    - Universal distribution master
    - Based on open standards
    - Device Independent
    - Extensible as technology advances
    - Compatible with today?s film distribution
    > Screen luminance 14 ft L
    > White point 0.314 0.351 based on Xenon practice

    Color Space
    - Options considered
    - Why XYZ was chosen
    - Explanation of CIE color and x y diagrams
    - Image state - output referred

    Transfer Function
    - Why gamma 2.6
    - Why 12 bits
    - Contrast Sensitivity test
    - Full range
    - Normalization to support other white points

    Reference Projector and Environment
    - Reference Projector
    - Environment
    - Calibration
    - Projector Measurements

    Digital Intermediate Process
    - Film and digital raw inputs
    - Film centric workflow- printing density
    - Print Film Emulation in reference display
    - Color Transforms to XYZ
    - Impact on color correctors and other equipment or software
    - Output referred encoding
    - Metadata on reference projector


    Color Transformations
    - ICT in JPEG 2000
    - Color transform to RGB in the projector
    - Color calibration in-situ
    - Gamut mapping in the projector
    - Nature's tone mapping

    DLP Cinema - a case study
    - How DLP technology works
    - Initial industry demonstrations
    - Responding to creative requests
    - Expansion of color gamut
    - P7v2 to expedite film matching
    - Color calibration in-situ
    - 3D LUT for gamut mapping
    - 3D LUT for film emulation
    - Expansion of contrast ratio
    - Cinelink® link encryption
    - Cinecanvas® subtitles

    Digital 3D Presentation
    - Screen luminance requirement
    - Impact on color appearance
    - Dual link 4:2:2 interface
    - Various presentation options:
    > Dual projector; passive polarizers
    > Single projector; active glasses
    > Single projector with Z-screen; passive glasses
    > Infitec color filters

    The Future
    - Impact of wider gamut light sources
    - Gamut mapping requirements
    - Impact of digital cameras
    - 48 FPS for enhanced motion
    - Will film distribution be phased out?
    - Digital cinema centric workflow
    - Color Appearance Modeling
    - Auto color transforms for home video and other outputs

    商品描述(中文翻譯)

    《數位電影的色彩與調校》探討了對於電影後期製作過程的影響,以及支援設備和軟體所需的變化。儘管對於電影界來說是一個新概念,但選擇廣色域、輸出參考的XYZ色彩空間作為數位電影發行的基礎,是基於數十年的色彩科學和其他行業的經驗。本書解釋了選擇XYZ和其他色彩編碼參數的理由,並提供了德州儀器公司開發DLP Cinema®投影機的完整案例研究。最後,本書探討了XYZ色彩編碼概念如何擴展以支援未來的增強顯示技術。

    本書包含以下內容:
    - 色彩科學解釋的精彩四色插圖
    - 作者Glenn Kennel的從未發表的行業資訊,他是數位電影色彩技術的世界領先者
    - 關鍵問題的描述和標準化過程中所做決策的背景

    作者Glenn Kennel是Laser Pacific Media Corporation的特色電影服務副總裁/總經理,該公司是電視和電影後期製作服務的領先提供商。最近,他在德州儀器公司的DLP Cinema團隊工作,負責技術和業務發展。在此之前,他在柯達公司的二十年職業生涯中,領導了Cineon數位電影掃描儀和激光錄製機的開發,以及成為Spirit Datacine的原型HDTV電影電影機。作為顧問,他幫助DCI起草了數位電影的技術規範。Kennel還擔任SMPTE DC28色彩臨時小組和DC28.20發行工作小組的主席。他是SMPTE的會士,並獲得了SMPTE Journal獎。他還是美國電影藝術與科學學院的成員。

    目錄:
    - 目標
    - 通用發行母帶
    - 基於開放標準
    - 設備獨立
    - 隨著技術進步而擴展
    - 與當今電影發行兼容
    - 螢幕亮度14英尺L
    - 白點0.314 0.351,基於氙氣燈實踐
    - 色彩空間
    - 考慮的選項
    - 為何選擇XYZ
    - CIE色彩和xy圖的解釋
    - 影像狀態-輸出參考
    - 轉換函數
    - 為何選擇伽馬2.6
    - 為何選擇12位元
    - 對比敏感度測試
    - 全範圍
    - 正規化以支援其他白點
    - 參考投影機和環境
    - 參考投影機
    - 環境
    - 校準
    - 投影機測量
    - 數位中間處理
    - 電影和數位原始輸入
    - 以電影為中心的工作流程-印刷密度
    - 參考顯示器中的印刷膠片仿真
    - 轉換為XYZ的色彩轉換
    - 對色彩校正器和其他設備或軟體的影響
    - 輸出參考編碼
    - 參考投影機上的元數據
    - 色彩轉換
    - JPEG 2000中的ICT
    - 投影機中的RGB色彩轉換
    - 現場色彩校準
    - 投影機中的色域映射
    - 自然的色調映射
    - DLP Cinema-案例研究
    - DLP技術的工作原理
    - 初始行業示範
    - 回應創意要求
    - 色域擴展
    - P7v2加速電影匹配
    - 色彩c