SIGGRAPH 2000SIGGRAPH 2000 - Course

Los Angeles, Tuesday, July 25, 2000
Full-day course (Advanced level)

The technology of digital cinema (D-cinema) -
Syllabus

Introduction
(Poynton)

High-definition television (HDTV) equipment using the 1920 x 1080 image format achieves the spatial resolution of motion picture film. HDTV standards and equipment are being adapted to the 1080p24 standard, at film's 24 frame per second rate. We will introduce HDTV standards and equipment, particularly the emergent 1080p24 standards. We describe the demands that the dark ambient environment of cinema places upon image coding and exchange standards. We discuss the frame rate of film - how it was establish, why it endures, how it relates to eye tracking, and how frame rate conversion is accomplished.

Resolution
(Poynton)

The term resolution used in computing refers to raw pixel count; however, in film and video we are interested in image detail that is delivered to the viewer. We will describe the definition and measurement of resolution, and its relationship to frequency response, bandwidth, and modulation transfer function (MTF). We describe the sampling and reconstruction filters that are necessary to avoid aliasing at acquisition and to avoid visible pixel structure at display.

Color
(Poynton)

HDTV equipment uses R'G'B' and Y'CBCR color coding, both based upon power functions; however, most digital film equipment and software uses the printing density metric, which is based upon logarithmic coding. We will introduce the DPX and Cinéon coding systems and file formats, and explain gamut and contrast ratio issues in digital film.

Cameras
(Galt)

HDTV cameras are being modified to implement the 24 frame per second frame rate of film. We present the principles of optical system design in film and video cameras, and discuss sensitivity, color, and resolution issues.

Aquiring geometric & camera data
(Lasky)

Most live action films now involve CGI elements. Acquiring the scene geometry, and information about the camera position, attitude, and lens settings, is now very important. We explain how this data is acquired, recorded, processed, and used in production.


Recording and distribution
(Schnuelle)

Computer effects work has in the past involved non-realtime recording of digital film images, but acquisition and display require realtime operation. Modified HDTV systems provide this capability. We will introduce the technology of HDTV and 1080p24 video recording on videotape (e.g., the D-5 HD system), and on disk arrays. We will describe audio systems design, and synchronization issues. We will outline distribution through terrestrial and satellite networks. Commercial test screenings using digital projection have involved transfers from film masters that have been specific to the projection technology; we will outline the technical and aesthetic issues involved in making those transfers, and we will discuss issues in the development of standards for a projector-independent digital mastering format.

Projection systems
(Werner)

Several cinema-class projection technologies are available or in development. We introduce the principles of projection systems, and describe common features such as light sources and projection optics. We explain the system design of the emergent display technologies: CRT projection, ILA, DMD, and GLV. We detail the design of the T I DMD system, and give an overview of its interface and signal processing.

ORGANIZER

Charles Poynton works to integrate video technology - particularly high definition television and accurate color reproduction - into computer workstations. While at Sun Microsystems, from 1988 to 1995, he initiated Sun's HDTV research project, and introduced color management technology to Sun. He is a Fellow of the Society of Motion Picture and Television Engineers (SMPTE), and an Honorary Member of the BKSTS. In 1994 he was awarded SMPTE's David Sarnoff Gold Medal for his work integrating video technology with computing and communications. He has presented many popular courses and seminars, including Digital Color at SIGGRAPHs in 1994, 1996, 1997, 1998, and 1999. His book, A Technical Introduction to Digital Video, was published in 1996 by John Wiley & Sons, and is now in its fourth printing.

PRESENTERS

John Galt is Vice-President at Panavision in Los Angeles, where he is developing a series of fixed focal length and zoom lenses for use with electronic cameras for D-cinema. Prior to joining Panavision, Galt was Vice-President of High-Definition Technology Development at Sony Pictures. At the Sony High Definition Center, Galt contributed to many film restoration projects, and led the effort to develop the HDTV telecine which has recently been commercialized by Sony.

Alan Lasky works at Panavision in Los Angeles, where he is developing a system to capture camera data during principal photography. Lasky was a member of SGI's Consulting and Professional Services group at SGI's Silicon Studios/LA, where he installed, configured, integrated, and taught courses on software systems for animation, rendering, compositing, and editing. Lasky worked in digital effects on films including Last Action Hero, Demolition Man, True Lies, The Shadow, Wolf, Carlito's Way, and Love Affair. Prior to his involvement in digital effects, Lasky worked as a camera and visual effects person on feature films including Date with an Angel, King Kong Lives, Windmills of the Gods, and many commercials and rock videos. Alan Lasky holds a bachelor's degree in film production from New York University, and a master's degree in media technology from the M.I .T.

Dave Schnuelle is Director of Engineering at International Video Conversions, Inc. (IVC), in Burbank, California. IVC has been active in HD production since 1994. Schnuelle was recently contracted by the THX Digital Mastering Program to transfer the digital version of Star Wars, Episode 1: The Phantom Menace, which was exhibited in special public showings using digital projection. Prior to joining IVC, Schnuelle was Chief Engineer for LucasFilm's THX LaserDisc program, where he was responsible for transfers of films to videotape and videodisc.

Bill Werner is systems engineering and electronics design team leader for DLP Cinema development at Texas Instruments. Werner joined T I in 1982, after receiving a BSEE degree from the University of Michigan. In 1987 he received a MSEE degree from Southern Methodist University; he joined the Digital Imaging Group of T I in 1993. Werner led development of the first DLP projector based on the 1280 x 1024 Digital Micromirror Device (DMD). He has had various systems engineering assignments within the large venue products group at T.I. Werner is a member of SMPTE, BKSTS, and IEEE.

Charles Poynton - Courses & seminars - The technology of digital cinema (D-cinema)
2000-03-03