[...]... program manager of Kodak’s Digital Cinema effort in 2000–2003, he led a team that developed servers and software for digital cinema and coordinated a joint development program with JVC for a digital cinema projector In 2003, Kennel left Kodak to work as an industry consultant with DCI on color encoding for digital cinema, including coordinating the digital mastering process for the ASC/DCI StEM test... screen 6 1 Overview of Color and Mastering for Digital Cinema to screen The important image attributes are defined along with appropriate tolerances for mastering and exhibition The calibration and measurement of digital cinema projectors is reviewed, with a brief description of the instrumentation and test patterns required Chapter 6, Digital Mastering , reviews the evolving trends in mastering, including... need for standards for digital cinema mastering, distribution and exhibition Working groups were established to address each of these areas In addition, ad hoc groups of industry experts were formed to address specific issues, including packaging, key management and security, and color The DC28 color ad hoc group began its work in 2002, focusing its initial discussions on the color encoding for digital. .. picture and sound and is a first generation graded print from the original negative 5 Overview of Color and Mastering for Digital Cinema Reference projector Origination Dailies Editorial Preview screenings Digital mastering Encoding and packaging Release printing Figure 1-1 Digital distribution Film distribution Motion Picture Workflow editing and preview functions are outside of the scope of this book Color. .. characteristics of human vision, and how color scientists have developed experimental methods to model it After reviewing the requirements for the selection of a color space for digital cinema, the various options are summarized The experimental basis for the CIE colorimetric analysis is reviewed, leading to the standard x, y, z color matching functions and the X, Y and Z color primaries Chapter 4, “Transfer... DC28 ad hoc group on Color and helped draft several digital cinema standards He joined Texas Instruments’ DLP Cinema group in 2004, in a role that combined technology and business development for digital cinema, helping the industry address the practical hurdles to digital cinema deployment Kennel was elected to the Scientific and Technical Branch of the Academy of Motion Picture Arts and Sciences in 2005... consistent in both venues For compatibility with legacy film projectors, the digital cinema standards specify a screen luminance of 48 cd/m2 (14 ft L) with a white point of 0.314 x, 0.351 y The basis for these parameters will be explained in Chapter 5 This treatment of digital cinema color encoding will describe the standards and practices that are used to create the digital cinema master, and those that are... the published SMPTE standards2 for the final word on implementation 1 Society of Motion Picture and Television Engineers 2 At the time of this writing, the SMPTE DC28 working group has several digital cinema documents in process These standards are available to participants, but have not yet been published 1 2 1 Overview of Color and Mastering for Digital Cinema This book refers to colorimetric principles... wife, Sarah Priestnall, for checking my writing and correcting my mistakes, and also for helping me rewrite sections for clarity, particularly the chapter on Digital Intermediate I also thank her for her support and patience while I was spending many weekends on the writing I am deeply indebted to Tom Maier of Kodak for his lucid writing on the subject of color processing for digital cinema In particular,... Its crowning achievement was the delivery of a consensus technical specification for 3 R.W.B Hunt, The Reproduction of Color, 6th Edition, Wiley, © 2004 4 G Wyszecki and W.S Stiles, Color Science: Concepts and Methods, Quantitative Data and Formulae, 2nd Edition, Wiley, © 2000 3 Overview of Color and Mastering for Digital Cinema a 2 K/4 K scalable solution in July 2005 that was supported in its entirety . Color and Mastering for Digital Cinema Prelims-K80874.qxd 9/19/06 4:41 PM Page i This page intentionally left blank Color and Mastering for Digital Cinema Glenn. Series Editor xv 1 Overview of Color and Mastering for Digital Cinema 1 2 Color in Motion Picture Film 9 3 Color Space for Digital Cinema 33 4 Transfer Function