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Digital Cinema Standards
Dave BancroftThomson Broadcast & Media Solutions
IBC 2003
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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?
ConventionalCinema
ConventionalCinematography
Laboratory Services(photo-chemical production)
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Laboratory Services(photo-chemical production)
ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
Digital Motion Picture Production
Film Rec
Film Scan
DigitalCinematography
DigitalCinema
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ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
DigitalCinematography
Digital Motion Picture Production
Film Rec
Film Scan
DigitalCinema
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What is Digital Cinema?
DigitalCinematography
Digital Motion Picture Production
DigitalCinema
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What is Digital Cinema?
DigitalCinematography
Digital Motion Picture Production
DigitalCinema
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ConventionalCinema
What is Digital Cinema?
ConventionalCinematography
DigitalCinematography
DigitalCinema
(distribution/exhibition)
Digital Motion Picture Production
Film Scan
Film Rec
Digital Motion PictureProduction
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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 is SMPTE Digital Cinema?
DigitalSourceMaster(DSM)
ConventionalCinema
ConventionalCinematography
DigitalCinematography
DigitalCinema
(distribution/exhibition)
Digital Motion Picture Production
Film Rec
Film Scan
Digital Motion PictureProduction
DigitalCinema
DistributionMaster
(DCDM)
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What is SMPTE Digital Cinema?
DigitalCinema
(distribution/exhibition)
DigitalCinema
DistributionMaster
(DCDM)
Conventional
on Picture
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What is SMPTE Digital Cinema?
DigitalCinema
(distribution/exhibition)
DigitalCinema
DistributionMaster
(DCDM)
Conventional
on Picture
Distribution Exhibition
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What is SMPTE Digital Cinema?
Distribution ExhibitionMasteringDCDM
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First-Round DC28 Work
Distribution ExhibitionMasteringDCDM
Compression
Encryption
Transport
Audio
Theater Systems
Projection
Colorimetry
Packaging
(DTIM)
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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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DistributionDC28.20
ExhibitionDC28.30
MasteringDC28.10
DCDMCompression
Encryption
Transport
Audio
Theater Systems
Projection
Overview Ad Hoc Group
(DTIM)
DSM DSM DCDM
Subtitling
Sub-pictures
Audio mastering
Colour Image Encoding
DTIM
DCDM-1
Sub-picture
Timed Text
Encryption
Packaging
Segmentation
Key Management
Link Encryption
Projector Interface
Proj. Measurement
Proj. Luminance
ad hocgroups
workinggroups
DC28 Technology Committee
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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-1 Container
X Pixels Y Pixels
Container Aspect Ratio
Pixel Aspect Ratio
Total M PELS
Fram e Rate
4096 2048 2.00 1 8.3886 24.0000
Common container principle
X Pixels Y Pixels
Image Aspect Ratio
Pixel Aspect Ratio
Total M PELS
Frame Rate
2724 2048 1.33 1 5.5784 24.00003400 2048 1.66 1 6.9625 24.00003790 2048 1.85 1 7.7619 24.00004096 2048 2.00 1 8.3886 24.00004096 1714 2.39 1 7.0198 24.0000
Accommodating different aspect ratios - examples
active pixels
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DCDM-1 Colorimetry• Wide colour gamut encoding/exchange primaries
EncodingPrimaries x y
X 1.0000 0.0000
Y 0.0000 1.0000
Z 0.0000 0.000
1.00
0.80
0.60
0.40
0.20
0.000.00 0.20 0.40 0.60 0.80 1.00x
y
X
Y
Z
“gamut container”
CodingCode value = 4095*([L/P]1/2.6)(12 bits per component)L = luminance valueP = peak luminance
gamutof some
realdisplay
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What are they doing?
SMPTEDC28
?
userrequirements
DCI
EDCF
DCI
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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
• Technical Module (EDCF-T)• Commercial Module • Content Module
• 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
SMPTEDC28
?
userrequirements
DCI
EDCF
alternative content, alternative venues
first-run major features
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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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