Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 113, No. 9, pp. 281–292
Abstract: The SMPTE Color ad hoc group was formed in 2001 (under DC28.2) to investigate the colorimetric requirements for the Digital Cinema Distribution Master (DCDM). A draft specification on color image encoding was published in September 2002 that recommended the use of XYZ color space, a gamma 1/2.6 transfer function, and 12 bits per color. With the support of Digital Cinema Initiatives (DCI), a test was designed to verify these color image encoding parameters. This paper reports the results of the contrast sensitivity experiment, which showed that many of our observers could see a modulation corresponding to a one code value change with 10-bit encoding, but few observers would see a one-code value change with 12-bit encoding. This result matches the results of published contrast sensitivity experiments.
Publication Date: 2004-09-01
DOI: 10.5594/J11549
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/J11549
Author(s): Matthew CowanUniversity of Waterloo.
bio
Matthew Cowan has over 20 years experience in the development and application of new products in the media and display fields. His comprehensive background includes development of electronic projection systems, design of complex mastering and distribution systems, strategic technology sourcing, reviews of advanced electronic display products, and detailed analysis of compression schemes for digital images. Cowan was instrumental in developing the current mastering processes used in digital cinema, which introduced the use of the mastering theater for color and dynamic range adjustment. He has been an invited speaker and panelist for numerous industry conferences and film festivals. He chaired the SMPTE DC28.3 study group on compression for digital cinema and remains an active DC28.0 participant. Cowan holds an M.Sc. in electrical engineering from the University of Waterloo.
Glenn KennelUniversity of Waterloo.
bio
Glenn Kennel recently joined the DLP Cinema group of Texas Instruments in a role that includes technology and business development. In a 20-year career with Kodak, he developed digital products and processes for motion picture post-production and display. As a consultant, he helped DCI draft the technical specifications for digital cinema. Kennel also chairs the SMPTE DC28 Color ad hoc group.
Thomas MaierEntertainment Imaging Business Unit of Eastman Kodak Co.
bio
Tom Maier is a research fellow in the Entertainment Imaging Business Unit of Eastman Kodak Co. During his 33-year career at Kodak, Maier has written computer programs to model film and digital imaging systems, developed methods to characterize and optimize the color quality of these imaging systems, and has run psychometric experiments to confirm the image quality of his computer optimizations. He previously served on a number of the CIE committees related to color and now serves on several of the SMPTE DC28 Standards Committees for Digital Projection Systems. Maier earned a B.S. degree in chemical engineering from M.I.T. and a Ph.D. degree in Chemistry from the University of Illinois. He is a member of SMPTE.
Brad WalkerRice University
bio
Brad Walker received a BSEE from Rice University in 1983. From 1984 to 1997, he worked at Video Post & Transfer, Inc., as chief engineer and VP engineering. Since 1998, he has been with Texas Instruments Inc., first as a contractor and then as senior systems engineer for DLP Cinema Projection Systems. He developed the DLP Cinema signal processing architecture, including color processing, 3-D-LUT, resizer, and overlay processing. Walker holds two patents and was elected a member, group technical staff. He has been a SMPTE member since 1985.
Copyright: © 2004 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

1. Barten P.G.J. , “Contrast Sensitivity of the Human Eye and Its Effects on Image Quality,” SPIE—The International Society for Optical Engineering : Bellingham, WA , 1999 . EXTERNAL
2. Finney D. J. , Probit Analysis , Cambridge University Press : New York, NY , 1971 . EXTERNAL

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Matthew Cowan, Glenn Kennel, Thomas Maier, and Brad Walker; Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema, SMPTE Motion Imaging Journal ( Volume: 113, Issue: 9, September 2004); SMPTE, 2004. Available at https://doi.org/10.5594/J11549

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Matthew Cowan, Glenn Kennel, Thomas Maier, and Brad Walker; Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema, SMPTE Motion Imaging Journal ( Volume: 113, Issue: 9, September 2004); SMPTE, 2004. Available at https://doi.org/10.5594/J11549

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<span class="citation">Matthew Cowan, Glenn Kennel, Thomas Maier, and Brad Walker; <cite>Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema</cite>, SMPTE Motion Imaging Journal ( Volume: 113, Issue: 9, September 2004); SMPTE, 2004. Available at <a href="https://doi.org/10.5594/J11549" target="_blank" rel="noopener">https://doi.org/10.5594/J11549</a></span>

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Matthew Cowan, Glenn Kennel, Thomas Maier, and Brad Walker; <cite id="bib-10-5594-j11549">Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema</cite>, SMPTE Motion Imaging Journal ( Volume: 113, Issue: 9, September 2004); SMPTE, 2004
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Color Processing for Digital Cinema 2: Explanation of the Constants 4095 and 52.37, the White Points, and the Black [Active]
“Super Hi-Vision” Video Parameters for Next-Generation Television [Active]
Perceptual Signal Coding for More Efficient Usage of Bit Codes [Active]
Super Hi-Vision Video Parameters for Next-Generation Television [Active]
Perceptual Signal Coding for More Efficient Usage of Bit Codes [Active]
SMPTE EG 432-1:2010 [Active, Stabilized]