Comments on the Celluloid Junkie Predictions 2019

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Celluloid Junkie Predictions Issue 2019

Meanwhile, niches such as IMAX took much longer to get to 1,000 screens, and the great advance of DolbyVision is still only shown on hundreds of screens. (The great advance of Atmos is in the thousands, while Auro and DTS:X are less than 100 combined.)

So, hopefully that gives a sense of the spectacular end of the business…not unlike post houses which would order the latest from Ampex or Sony at NAB many months before delivery even knowing that a year later their competition could order the same thing for half what they would be paying. Such is technology. LED walls have some advantage, but they have a lot of hurdles to still overcome.

…and finally, Encrypt

Perhaps there was a time when things were so confusing at the final stage of movie creation and festival distribution that it made more sense to send out an unencrypted version of your movie. James Gardiner, the CineTech Geek, begs you please – whether you make your DCP with DCP-O-Matic or whether you use a service…ENCRYPT. It is 2019, and you are a professional with an asset to protect.

James Gardiner, CineTech Geek, explains why to encrypt your DCP.

…and finally, Encrypt

Perhaps there was a time when things were so confusing at the final stage of movie creation and festival distribution that it made more sense to send out an unencrypted version of your movie. James Gardiner, the CineTech Geek, begs you please – whether you make your DCP with DCP-O-Matic or whether you use a service…ENCRYPT. It is 2019, and you are a professional with an asset to protect.

James Gardiner, CineTech Geek, explains why to encrypt your DCP.

HDR Explained – for the rest of us…

From the cinema exhibition view, it is getting more difficult to explain why the big screen pictures are a better quality experience for watching movies than the experience at home. The industry has never done well at explaining the differences, so it is nice to see a good attempt to explain the groundwork of what is obviously coming. One remembers the 2007 NAB/SMPTE Digital Cinema Summit when Chris Cookson, then chief technology officer for Warner Bros. explained why at all costs producers should insist on 4K deliverables if they had any respect for their future library.

In this case, the potential for getting HDR to the home is now here. With all the 4K televisions walking out of CostCo and BestBuy, and more data streaming into people’s home, it has a chance. We will see what CinemaCon brings this spring…perhaps the tech won’t embarrass us like it did last year.

HDR Explained – for the rest of us…

From the cinema exhibition view, it is getting more difficult to explain why the big screen pictures are a better quality experience for watching movies than the experience at home. The industry has never done well at explaining the differences, so it is nice to see a good attempt to explain the groundwork of what is obviously coming. One remembers the 2007 NAB/SMPTE Digital Cinema Summit when Chris Cookson, then chief technology officer for Warner Bros. explained why at all costs producers should insist on 4K deliverables if they had any respect for their future library.

In this case, the potential for getting HDR to the home is now here. With all the 4K televisions walking out of CostCo and BestBuy, and more data streaming into people’s home, it has a chance. We will see what CinemaCon brings this spring…perhaps the tech won’t embarrass us like it did last year.

DCI – New HDR and Direct View Display Docs

The difference is that these documents are very fleshed out, reading more like a SMPTE document than a brief one what one should consider, and are complete with Normative References and a Glossary, in addition to the required formulas and charts.

Interesting highlights include the luminance parameters for 500 candela/m2 (146 fL) with stricter tolerances and roll offs at the edges and corners. A minimum black level of 0.005 cd/m2 is specifically mentioned, which is a 5 decimal point swing, or 100,000:1. It was nice to see that P3D65 makes an appearance as the White Point, coming on the heels of the latest revision of ST 2067-102:2017

SDR ranges are also specified, with a black level under 0.01 cd/m2 being the level under which the display shall never reproduce. This might protect grey fuzzies from appearing in place of blacks in SDR releases shown through HDR machinery. References to 5,000:1 for SDR are mentioned in the Direct View Display document, but not the HDR. In fact, there is an actual paucity of the word Contrast, though not a dearth…it is mentioned once and implied a few times.

High Frame Rates are also detailed in the Direct View document, in Edit Units per second. 

Many other details…go to:

DCI DRAFT High Dynamic Range D-Cinema Addendum version 0.9 (PDF) 
Click here: http://dcimovies.com/drafts/DCI-DRAFT-HDR-D-Cinema-Addendum_v09_2018-1116.pdf

DCI DRAFT Direct View Display D-Cinema Addendum version 0.9 (PDF)
Click here: http://dcimovies.com/drafts/DCI-DRAFT-Direct-View-Display-D-Cinema-Addendum_v09_2018-1116.pdf

DCI – New HDR and Direct View Display Docs

The difference is that these documents are very fleshed out, reading more like a SMPTE document than a brief one what one should consider, and are complete with Normative References and a Glossary, in addition to the required formulas and charts.

Interesting highlights include the luminance parameters for 500 candela/m2 (146 fL) with stricter tolerances and roll offs at the edges and corners. A minimum black level of 0.005 cd/m2 is specifically mentioned, which is a 5 decimal point swing, or 100,000:1. It was nice to see that P3D65 makes an appearance as the White Point, coming on the heels of the latest revision of ST 2067-102:2017

SDR ranges are also specified, with a black level under 0.01 cd/m2 being the level under which the display shall never reproduce. This might protect grey fuzzies from appearing in place of blacks in SDR releases shown through HDR machinery. References to 5,000:1 for SDR are mentioned in the Direct View Display document, but not the HDR. In fact, there is an actual paucity of the word Contrast, though not a dearth…it is mentioned once and implied a few times.

High Frame Rates are also detailed in the Direct View document, in Edit Units per second. 

Many other details…go to:

DCI DRAFT High Dynamic Range D-Cinema Addendum version 0.9 (PDF) 
Click here: http://dcimovies.com/drafts/DCI-DRAFT-HDR-D-Cinema-Addendum_v09_2018-1116.pdf

DCI DRAFT Direct View Display D-Cinema Addendum version 0.9 (PDF)
Click here: http://dcimovies.com/drafts/DCI-DRAFT-Direct-View-Display-D-Cinema-Addendum_v09_2018-1116.pdf

Color Spaces Training Cool

While writing an addendum to CinemaTestTools.com‘s Lesson A Look At Light, Part 2, your author was amazed to find a uniquely incredible lesson on Color Spaces, the 2nd in a series of interactive training courses from Wigglepixel: What are Color Spaces, Color Profiles and Gamma Correction?

It really is a masterclass given the scope – from spaces through chromaticity through gamut and gamma correction…and more, and especially when combined with last month’s lesson on Color Models. No need to say anymore…just go there now and point others to Maarten de Haas’ Wigglepixel blog and site. (Written in both English and Dutch.)

wigglepixel demo of P3 and 2020 and RGB

Color Spaces Training Cool

While writing an addendum to CinemaTestTools.com‘s Lesson A Look At Light, Part 2, your author was amazed to find a uniquely incredible lesson on Color Spaces, the 2nd in a series of interactive training courses from Wigglepixel: What are Color Spaces, Color Profiles and Gamma Correction?

It really is a masterclass given the scope – from spaces through chromaticity through gamut and gamma correction…and more, and especially when combined with last month’s lesson on Color Models. No need to say anymore…just go there now and point others to Maarten de Haas’ Wigglepixel blog and site. (Written in both English and Dutch.)

wigglepixel demo of P3 and 2020 and RGB

NATO Declares 9 April ’19 SMPTE DCP Compliance Day

There is now a website that details the migration project at smptedcp.com which gives the running status of North America and Europe for percentages of feasibility, as well as good descriptions of what this means.SMPTE DCP dot Com

With word that there is no more technical or equipment reason for any exhibitor in the United States to not be running SMTPE Compliant DCPs, the board of NATO has released the following: 

Be it resolved that motion picture distributors and exhibitors operating in the ‘domestic’ market of the United States and Canada will fully transition to SMPTE DCP by 9 April 2019. A full press release will follow shortly.

See the full document full of Whereas and BE IT in the attachment…

NATO Declares 9 April ’19 SMPTE DCP Compliance Day

There is now a website that details the migration project at smptedcp.com which gives the running status of North America and Europe for percentages of feasibility, as well as good descriptions of what this means.SMPTE DCP dot Com

With word that there is no more technical or equipment reason for any exhibitor in the United States to not be running SMTPE Compliant DCPs, the board of NATO has released the following: 

Be it resolved that motion picture distributors and exhibitors operating in the ‘domestic’ market of the United States and Canada will fully transition to SMPTE DCP by 9 April 2019. A full press release will follow shortly.

See the full document full of Whereas and BE IT in the attachment…

Two (Now Sony), Who’ll Be The Next In Line? LED Wall Wars, 2018/2019

The ZRD-2 LED Display system was shown at CinemaCon in 2016, the same year that Samsung showed the ONYX system, and announced that it had passed the CTP. At the time and to this day the spec sheets show that it is a 10 bit system, but will doubtless become a minimum of 12 bits to comply with the DCI Specifications. Unlike the CTP, which do not test for imagery or sound quality, the DCI Specifications do. On their front page they mention: 

Having passed the CTP in its current form, DCI has now listed a direct-view screen system as compliant. However, DCI has not performed a comprehensive assessment, similar to original system testing, of the imagery of direct-view systems. DCI is taking steps to add new tests to future versions of the CTP. In the interim, DCI encourages consultation with industry experts to ensure a thorough understanding of the issues and limits, if any, with direct-view systems.

The Sony system has a pitch that is twice as fine as the 2.5 pitch of the ONYX system. While that means that people can stand twice as close to it without seeing pixels (the Samsung rule of thumb is that the first row of viewers should be 16-20 feet back), it bring even more pressure to bear on building systems in appropriate sizes without running into the problem of scaling by non-integer amounts, or building a 8K system to get twice the size…or higher. 

LG is the next rumored player, and there are others which have been interested in the Cinema exhibition market for a long while. Since TI was only able to handle 3 subcontractors for their DMD DLPs, Sanyo couldn’t enter the market as they wanted to and since they have now been consumed by Panasonic – which also had an interest in cinema perhaps they will renew their interest. Now that their VariCam cameras have a high-impact hit, perhaps they will want the marketing impact of being an end to end supplier in the professional world to augment their consumer world.

One more thing to talk about during the coming SMPTE Tech Conference on the 22-25th of October.

Two (Now Sony), Who’ll Be The Next In Line? LED Wall Wars, 2018/2019

The ZRD-2 LED Display system was shown at CinemaCon in 2016, the same year that Samsung showed the ONYX system, and announced that it had passed the CTP. At the time and to this day the spec sheets show that it is a 10 bit system, but will doubtless become a minimum of 12 bits to comply with the DCI Specifications. Unlike the CTP, which do not test for imagery or sound quality, the DCI Specifications do. On their front page they mention: 

Having passed the CTP in its current form, DCI has now listed a direct-view screen system as compliant. However, DCI has not performed a comprehensive assessment, similar to original system testing, of the imagery of direct-view systems. DCI is taking steps to add new tests to future versions of the CTP. In the interim, DCI encourages consultation with industry experts to ensure a thorough understanding of the issues and limits, if any, with direct-view systems.

The Sony system has a pitch that is twice as fine as the 2.5 pitch of the ONYX system. While that means that people can stand twice as close to it without seeing pixels (the Samsung rule of thumb is that the first row of viewers should be 16-20 feet back), it bring even more pressure to bear on building systems in appropriate sizes without running into the problem of scaling by non-integer amounts, or building a 8K system to get twice the size…or higher. 

LG is the next rumored player, and there are others which have been interested in the Cinema exhibition market for a long while. Since TI was only able to handle 3 subcontractors for their DMD DLPs, Sanyo couldn’t enter the market as they wanted to and since they have now been consumed by Panasonic – which also had an interest in cinema perhaps they will renew their interest. Now that their VariCam cameras have a high-impact hit, perhaps they will want the marketing impact of being an end to end supplier in the professional world to augment their consumer world.

One more thing to talk about during the coming SMPTE Tech Conference on the 22-25th of October.

…Like Tangents In Rain