By Glenn Kennel
Colour and gaining knowledge of for electronic Cinema explores the results for movie submit creation strategies and alterations required to the assisting apparatus and software program. whereas a brand new idea to the movie neighborhood, the choice of the broad gamut, output-referred XYZ colour area for electronic cinema distribution is predicated on a long time 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 offers an entire case learn of the advance of DLP Cinema® projectors through Texas tools. ultimately, this ebook explores how the XYZ colour encoding thought might be prolonged to aid better reveal applied sciences within the future.
This ebook contains:
* awesome 4-color illustrations that flatter the colour technological know-how causes
* by no means ahead of released info from writer Glenn Kennel, an international chief in electronic cinema colour know-how
* Descriptions of key concerns and historical past 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 a whole variety of put up construction prone for tv and have movie. lately, he labored for the DLP Cinema team of Texas tools in a job that integrated expertise 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 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 workforce. he's a SMPTE Fellow and has bought the SMPTE magazine Award. he's additionally a member of the Academy of movie Arts and Sciences.
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Additional resources for Color and Mastering for Digital Cinema
0601 B The constant k is chosen so that if P is watts per steradian per square meter, L is in candelas per square meter (cd/m2). The values of R, G, and B as defined above provided a precise system of color specification based on human visual experiments that could be used to calculate color tristimulus values from spectral data of color stimuli. 99 B The coefficients in these equations were chosen carefully so that X, Y, and Z would always be positive for all colors. The coefficients of the Y channel were chosen such that they are in the same ratios as the luminances of the matching R, G and B stimuli, which means that the value Y is proportional to the CIE 1924 photopic luminous efficiency function, V(), commonly called luminance.
Furthermore, since cinema images are viewed in a dark surround, the eye’s adaptation is very different from the observation of the original scene in its native environment. Generally speaking the contrast of a picture must be increased by approximately 50% to compensate for the dark surround viewing condition. This rendering for dark surround viewing is included in the output-referred image state. Although based on practical experience and a proven implementation, the DLP Cinema® color primaries and associated gamut were not an acceptable solution because they did not provide for future improvements in display technology.
In the late 1980s, Sony and other proponents of HDTV (high definition television) demonstrated electronic projection on small (20 foot wide) screens. However, the CRT projection technology was severely limited both in brightness and contrast ratio, and clearly was not ready for cinema applications. The GE Eidophor™ light valve technology, with a Xenon light source, was capable of lighting up large screens, but its complexity and cost ruled it out. In 1997, Texas Instruments (TI) demonstrated a prototype DLP® (digital light processing) projector that used digital micro-mirror devices (DMDs) to modulate a Xenon light source with both high brightness and high contrast.
Color and Mastering for Digital Cinema by Glenn Kennel