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Color and mastering for digital cinema /
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 digit...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Burlington, MA :
Focal Press,
©2007.
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| Colección: | Digital cinema industry handbook series.
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| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
Tabla de Contenidos:
- 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
- Cinelinkʼ link encryption
- Cinecanvasʼ 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.