Digital Cinema - Issues and Opportunities from Red to Blu

Published by: DIGDIA

Published: Jul. 8, 2008 - 185 Pages

Table of Contents

1 Introduction

2 Digital Cinema Overview

3 Production Issues

3.1 The Camera

3.1.1 Sensor issues

3.1.1.1 Size

3.1.1.2 De-mosaic

3.1.1.3 Exposure

3.1.1.4 Resolution

3.1.2 Color

3.1.2.1 4:4:4

3.1.2.2 Depth

3.1.3 Frame Rate

3.1.4 File Format

3.1.5 Buy or Rent

3.2 Storage

3.2.1 Writes Rates

3.2.2 Flash

3.2.3 Transfer Rates

3.3 Color Dailies

3.3.1 Display

3.3.2 Look Management

3.4 Art

3.5 Extras

4 Postproduction

4.1 Scanning

4.2 Editing

4.3 CGI/VFX

4.4 Digital Intermediate

4.5 3D LUT

4.6 Storage Systems

4.7 Render Farms

4.8 DSM and Archive

4.9 Postproduction Houses

4.9.1 StEM

5 Distribution

5.1 Still in Postproduction

5.1.1 DCDM

5.1.2 DCP

5.1.3 Vendors

5.1.4 Bit Rates

5.2 Metadata and MXF

5.3 Transportation

5.3.1 HDD

5.3.2 Satellite

5.3.3 Other

6 Exhibition

6.1 U.S. Theaters

6.2 Virtual Print Fee

6.2.1 VPF Issues

6.3 Digital Screen Rollout

6.3.1 U.S. Digital Screens

6.3.2 International Digital Screens

6.4 Security

6.4.1 Secure Media Block

6.4.2 KDM

6.4.3 Piracy

6.5 Digital Cinema Server

6.5.1.1 Single Screen Servers

6.6 Projectors

6.6.1 2K Projectors

6.6.2 4K Projectors 2K/4K Projector Summary

6.6.3 Alternative Content & Preshow

6.6.3.1 Alternate Content

6.6.3.2 Pre-Show Ads

6.6.3.3 Projectors

6.7 Lamps

6.7.1 Xenon

6.7.2 Laser

6.7.3 Cooling & Electrical

6.8 Audio

6.9 POS

6.10 Theater Management

7 Stereoscopic 3-D

7.1 Production

7.1.1 Planning the shot

7.1.2 Toe in - Toe out

7.1.3 Depth Budget

7.1.4 Exaggerated Depth

7.1.5 Camera Convergence

7.1.6 False Perspective Problem

7.1.7 Breaking the Frame

7.1.8 Cameras

7.1.8.1 Issues

7.2 Postproduction

7.2.1 Animation and CGI

7.2.2 Editing and Digital Intermediate

7.2.3 Dimensionalization

7.2.4 Captioning

7.2.5 File Formats

7.3 Exhibition

7.3.1 Triple Flash

7.3.2 3D Projection Technologies

7.3.3 Image Brightness

7.3.4 3D Server

7.3.5 The Screen and Dead Seats

7.3.6 Home viewing

8 Video

8.1 Windows

8.2 Blu-ray Issues

8.3 Premium TV

8.4 Games

8.5 Misc.

9 Appendix

9.1 Glossary

9.2 SMPTE Standards Index

9.4 Organizations

9.5 Books

9.6 Publications

9.7 Conferences

Figures

Figure 1 - Digital Cinema Ecosystem Overview

Figure 2 - Production & Postproduction workflow

Figure 3 - Distribution and Theater Workflow

Figure 4 - Bayer Pattern

Figure 5 - Striped CCD pattern and suggested alternative

Figure 6 - CMOS Sensor exposure transfer curve

Figure 7 - Foveon approach

Figure 8 - Anamorphic CinemaScope

Figure 9 - Shrinking CinemaScope

Figure 10 - Color Subsampling

Figure 11 - CIE chromaticity diagram showing visible, Rec 709 (black), DLP Cinema projector (white), and DCI XYZ encoding spaces

Figure 12 - 12 bits exponential (4,096 levels) equals 14 bits linear

Figure 13 - Flash memory examples

Figure 14 - S.Two DFR Field Recorder

Figure 15 - Materials that Digital doesn't like

Figure 16 - Filmlight's Northlight scanner

Figure 17 - Thomson Grass Valley Spirit 4K Scanner

Figure 18 - Apple Final Cut Pro

Figure 19 - ILM Models are everywhere

Figure 20 - ILM CGI control

Figure 21 - Render Farm at ILM

Figure 22 - Part of ILM's Disk Farm

Figure 23 - Christie digital projector in ILM's theater

Figure 24 - ILM Theater control rack

Figure 25 - Da Vinci 2K Plus Digital Intermediate

Figure 26 - FilmLight Baselight Digital Intermediate system

Figure 27 - Color transformation from XYZ colorimetric data to RGB as used by a DLP projector using a LUT

Figure 28 - renderBOXX 10200

Figure 29 - Digital Cinema Package (DCP)

Figure 30 - Dolby Secure Content Creator

Figure 31 - Addonics USIB to USB cable

Figure 32 - Removable HDD used to transfer movie to Dolby server

Figure 33 - iVDR removable disk cartridge

Figure 34 - U.S. Screen Count, Site Count, Average Screens/Site

Figure 35 - Ticket sales drop exponentially over time

Figure 36 - Total screens in company vs. theater rank (1)

Figure 37 - Total screens in company vs. theater rank (2)

Figure 38 - 1997 - 2007 U.S./Canada Per Capita Number of Admissions, Inflation Adjusted Box Office Take, Ticket Price - Relative to 1997

Figure 39 - Virtual Print Fee - activity & money flow

Figure 40 - AccessIT digital screens (2006 to start of 2008)

Figure 41 - U.S. Digital Screen count by Chain (2006, 2008)

Figure 42 - Projected U.S. Digital Screen Installations

Figure 43 - Projected Cumulative U.S. Digital Screens

Figure 44 - Secure “Media Block” block diagram

Figure 45 - Camcorder Piracy

Figure 46 - Worldwide Pirated Movie Timeline

Figure 47 - Trying to thwart camcorder with IR

Figure 48 - Doremi DCP-2000 Digital Cinema Server

Figure 49 - Dolby Digital Cinema products

Figure 50 - Dolby screenshot of playlist control

Figure 51 - QuVIS Cinema Player

Figure 52 - GDC Tech Digital Film Server

Figure 53 - Sony Media Block

Figure 54 - Qube servers and control panel

Figure 55 - Kodak Content Player

Figure 56 - DTS Digital Cinema FilmStore

Figure 57 - NEC Server

Figure 58 - XDC CineStore Solo G3

Figure 59 - XDC touchscreen

Figure 60 - Electrosonic Player

Figure 61 - DVC Player

Figure 62 - Digital Cinema Servers

Figure 63 - Christie Anamorphic 1.26X Lens

Figure 64 - Barco DP-3000

Figure 65 - Cinemeccacina CMC3 D2

Figure 66 - Christie CP2000-SB

Figure 67 - Christie CP2000M

Figure 68 - NEC NC2500S

Figure 69 - DPI Lightning

Figure 70 - Layout of Sony’s SXRD (LCoS) display (not in proportion)

Figure 71 - Sony CineAlta SRXR220

Figure 72 - JVC SH4K

Figure 73 - A solution to having both film and digital in the same booth

Figure 74- Panasonic PT-DW10000U

Figure 75 - LTI Philips LTIX 6000-DC Xenon Digital Lamp

Figure 76 - Laser color gamut

Figure 77 - Speaker layout for an “advanced theater”

Figure 78 - Klipsch Horn Speakers

Figure 79 - Dolby CP650

Figure 80 - Par Tech Ticket touchscreen POS, Radiant Systems Ticket Kiosk, CineStar Pocket PC POS terminal

Figure 81 - AccessIT Playout status screenshot

Figure 82 - AccessIT Content Management status screenshot

Figure 83 - AccessIT show timing screenshot

Figure 84 - Number of digital 3D movies released per year

Figure 85 - Sampling of 3D movies and Number of 3D screens they were released to vs. Time

Figure 86 - Depth Script

Figure 87 - Transitioned Depth

Figure 88 - Eye's Parallax

Figure 89 - Parallax relative to the screen

Figure 90 - Depth Budget

Figure 91 - Keystoning

Figure 92 - Camera convergence and where infinity appears in theater

Figure 93 - False Perspective

Figure 94 - What Left and Right Eye see

Figure 95 - Cropping the 3D image

Figure 96 - 3D camera used for Creature from the Black Lagoon

Figure 97 - DepthQ 3D Camera Rig

Figure 98 - 21st Century 3D cameras

Figure 99 - NHK Technical Services camera

Figure 100 - 3D camera with adjustable intraocular

Figure 101 - Pace HD Fusion

Figure 102 - 3ality TS2 camera

Figure 103 - Silicon Imaging SI-2K Mini

Figure 104 - Iconix HD-RH1

Figure 105 - Quantel Pablo 3D station

Figure 106 - Filmlight's Baselight DI station operating on a 3D clip

Figure 107 - Dimensionalizing requires creating hidden images

Figure 108 - Triple Flash

Figure 109 - Z Screen polarizer and Christie projector

Figure 110 - An alternative polarization system

Figure 111 - Polarized glasses

Figure 112 - Active glasses

Figure 113 - Color Shifting

Figure 114 - Dolby glasses

Figure 115 - Inside of the projector where filter wheel goes

Figure 116 - RealD XL System improves brightness

Figure 117 - Stacked Projectors

Figure 118 - 3D Alignment Frame

Figure 119 - Screen gain

Figure 120 - Dead seats

Figure 121 - Release Windows

Figure 122 - Average Theater to DVD Window vs. Domestic Theater Gross

Figure 123 - Theatrical to DVD Window from 2000 to 2008

Figure 124 - Percent of Box Office Take by Week After Release

Figure 125 - Kaleidescape with storage modules shown

Figure 126 - Interactive TV Family Tree

Figure 127 - Timeline of Studio agreements with Premium TV

Tables

Table 1 - Digital Cameras (Resolution, Sensor)

Table 2 - Film Scanners

Table 3 - Non-Linear Editors

Table 4 - CGI/VFX Plug-ins and Tools (part 1)

Table 5 - CGI/VFX Plug-ins and Tools (part 2)

Table 6 - CGI/VFX Studios

Table 7 - Digital Intermediate Systems

Table 8 - Storage Systems for Postproduction

Table 9 - Render Farm Queue software

Table 10 - DCDM/DCP Packaging Software/Systems/Services

Table 11 - Open software tools

Table 12 - MXF Tools

Table 13- Companies related to Satellite delivery

Table 14 - Top 20 U.S. Theater chains, ranked by number of screens

Table 15 - Digital screens deployed and % Digital by Company (1)

Table 16 - Digital screens deployed and % Digital by Company (2)

Table 17 - Top 20 U.S. Chains by total screen count, Number of Digital Screens they've installed and % Digital

Table 18 - WW Digital Screens & Percent Digital (2005, 2006, 2008)

Table 19 - KDM Management Products

Table 20 - Forensic Watermarking Products

Table 21 - 2K and 4K Projectors

Table 22 - Pre-Show Networks

Table 23 - Pre-show & Alternative Content Projectors

Table 24 - Short Arc Xenon Lamps

Table 25 - Laser Light Sources

Table 26 - Audio Processors

Table 27 - POS Software, Kiosks and Systems

Table 28 - Theater Management Systems

Table 29 - Some Digital Stereoscopic 3D Titles

Table 30 - 3D Cameras and Production

Table 31 - 3D Editing and Digital Intermediate

Table 32 - Stereoscopic 3D theater systems

Table 33 - 3D Technologies Comparison

Table 34 - Miscellaneous Vendors

Abstract

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