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Book

Color and Mastering for Digital Cinema

Book

Color and Mastering for Digital Cinema

DOI link for Color and Mastering for Digital Cinema

Color and Mastering for Digital Cinema book

Color and Mastering for Digital Cinema

DOI link for Color and Mastering for Digital Cinema

Color and Mastering for Digital Cinema book

ByGlenn Kennel
Edition 1st Edition
First Published 2006
eBook Published 6 October 2006
Pub. Location New York
Imprint Routledge
DOI https://doi.org/10.4324/9780080465494
Pages 208
eBook ISBN 9780080465494
Subjects Engineering & Technology
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Kennel, G. (2006). Color and Mastering for Digital Cinema (1st ed.). Routledge. https://doi.org/10.4324/9780080465494

ABSTRACT

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 digital cinema distribution is based on decades of color science and experience in other industries. The rationale for choosing XYZ and the other color encoding parameters is explained and the book also provides a full case study of the development of DLP Cinema® projectors by Texas Instruments. Finally, this book explores how the XYZ color encoding concept can be extended to support enhanced display technologies in the future.

This book contains:

* Brilliant 4-color illustrations that compliment the color science explanations

* Never before published industry information from author Glenn Kennel, a world leader in digital cinema color technology

* Descriptions of key issues and background on decisions that were made in the standardization process

By Glenn Kennel, Glenn Kennel is VP/GM of Feature Film Services at Laser Pacific Media Corporation, a leading provider of a full range of post production services for television and feature film. Recently, he worked for the DLP Cinema group of Texas Instruments in a role that included technology and business development. Previously, in a twenty year career with Kodak, he led the development of the Cineon digital film scanners and laser recorders and the prototype HDTV telecine that became the Spirit Datacine. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group and the DC28.20 Distribution working group. He is a SMPTE Fellow and has received the SMPTE Journal Award. He is also a member of the Academy of Motion Picture Arts and Sciences.

TABLE OF CONTENTS

chapter 1|8 pages

Overview of Color and Mastering for Digital Cinema

chapter 2|24 pages

Color in Motion Picture Film

chapter 3|14 pages

Color Space for Digital Cinema

chapter 4|20 pages

Transfer Function

chapter 5|18 pages

Reference Projector and Environment

chapter 6|20 pages

Digital Mastering

chapter 7|14 pages

Color Encoding for Digital Cinema Distribution

chapter 8|12 pages

Color Processing in the Projector

chapter 9|14 pages

DLP Cinema® Case Study

chapter 10|12 pages

Digital Display Technologies

chapter 11|12 pages

Digital 3D Presentation

chapter 12|12 pages

The Future

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