THOMSON Broadcast & Media Solutions
THOMSON Broadcast & Media Solutions
Digital Cinema Standards
Dave Bancroft
Thomson Broadcast & Media Solutions
IBC 2003
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THOMSON Broadcast & Media Solutions
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?
Conventional
Cinematography
Laboratory Services
(photo-chemical production)
Conventional
Cinema
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What is Digital Cinema?
Digital
Cinematography
Digital
Cinema
Digital Motion Picture
Production
Conventional
Cinematography
Laboratory Services
Film
Film
(photo-chemical production)
Scan
Rec
Conventional
Cinema
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What is Digital Cinema?
Digital
Cinematography
Digital
Cinema
Digital Motion Picture
Production
Conventional
Cinematography
Film
Scan
Film
Rec
Conventional
Cinema
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What is Digital Cinema?
Digital
Cinematography
Digital
Cinema
Digital Motion Picture
Production
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THOMSON Broadcast & Media Solutions
What is Digital Cinema?
Digital
Cinematography
Digital
Cinema
Digital Motion Picture
Production
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What is Digital Cinema?
Digital
Cinema
Digital
Cinematography
Conventional
Cinematography
(distribution/
exhibition)
Digital
Motion
Digital
Motion
Picture
Picture
Production
Production
Film
Film
Scan
Rec
Conventional
Cinema
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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?
DCI
SMPTE
DC28
?
EDCF
user
requirements
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SMPTE DC28
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What is SMPTE Digital Cinema?
Digital
Cinema
Digital
Cinematography
Conventional
Cinematography
Digital
Source
Master
(DSM)
(distribution/
exhibition)
Digital
Motion
Digital
Motion
Picture
Picture
Production
Production
Film
Film
Scan
Rec
Conventional
Cinema
Digital
Cinema
Distribution
Master
(DCDM)
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What is SMPTE Digital Cinema?
Digital
Cinema
Distribution
Master
(DCDM)
Digital
Cinema
(distribution/
exhibition)
on Picture
Conventional
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What is SMPTE Digital Cinema?
Digital
Cinema
Distribution
Master
(DCDM)
Digital
DistributionCinema Exhibition
(distribution/
exhibition)
on Picture
Conventional
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What is SMPTE Digital Cinema?
Mastering
DCDM
Distribution
Exhibition
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First-Round DC28 Work
Mastering
DCDM
(DTIM)
Distribution
Exhibition
Compression
Encryption
Theater Systems
Transport
Projection
Audio
Colorimetry
Packaging
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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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DC28 Technology Committee
Overview Ad Hoc Group
Mastering
DC28.10
DSM
DSM
DCDM
Subtitling
Sub-pictures
ad hoc
groups
Distribution
DC28.20
Exhibition
DC28.30
DCDM
(DTIM)
Compression
Encryption
Transport
working
groups
Theater Systems
Projection
Audio mastering
Audio
DCDM-1
Encryption
Key Management
DTIM
Packaging
Link Encryption
Sub-picture
Segmentation
Projector Interface
Timed Text
Proj. Luminance
Colour Image
Encoding
Proj. Measurement
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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
Common container principle
X Pixels
4096
Y Pixels
2048
Container
Aspect
Ratio
2.00
Pixel
Aspect
Ratio
1
Total M
PELS
8.3886
Frame
Rate
24.0000
Accommodating different aspect ratios - examples
X Pixels Y Pixels
2724
2048
3400
2048
3790
2048
4096
2048
4096
1714
Image
Aspect
Ratio
Pixel
Aspect
Ratio
1.33
1.66
1.85
2.00
2.39
1
1
1
1
1
Total M
PELS
5.5784
6.9625
7.7619
8.3886
7.0198
Frame
Rate
24.0000
24.0000
24.0000
24.0000
24.0000
active pixels
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DCDM-1 Container
2:1
1.85
2.39
Storaro
2:1
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DCDM-1 Colorimetry
• Wide colour gamut encoding/exchange primaries
Y
“gamut container”
1.00
0.80
gamut
of some
real
display
0.60
y
0.40
0.20
0.00
Z
0.00
0.20
0.40
x
X
0.60
0.80
1.00
Encoding
Primaries
x
y
X
1.0000
0.0000
Y
0.0000
1.0000
Z
0.0000
0.000
Coding
Code value =
4095*([L/P]1/2.6)
(12 bits per component)
L = luminance value
P = peak luminance
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What are they doing?
DCI
SMPTE
DC28
?
EDCF
user
requirements
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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
DCI
SMPTE
DC28
?
EDCF
user
requirements
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EDCF
• 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
DCI
first-run major features
SMPTE
DC28
?
EDCF
user
requirements
alternative content, alternative venues
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Others?
DCI
SMPTE
DC28
?
EDCF
user
requirements
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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 !
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