SMPTE Digital Cinema White Gamut Practices Study Group Report

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 118, No. 7, pp. 37–47
Abstract: By using the XYZ color space, the SMPTE Standards and Recommended Practices effectively allow for an infinite range of reproducible whites. The numerical color encoding chosen in the standard constrains the available colors at peak luminance (48 cd/m2) to a still-large set. However, SMPTE does not specify which of these encode-able colors are reproducible in exhibition. This means that colors can be mastered (encoded) that may not be seen by audiences in exhibition. Likewise, colors displayed in exhibition may never have been seen in mastering. For example, if your DI mastering suite were set up in RGB for a D55 white point at 48 cd/m2, projectors in current digital cinema exhibition practice, using the projector configuration file DCDM_XYZ_239, would not accurately reproduce the encoded master at peak white. Further, there is significant confusion between White Point, the color with maximum possible luminance, and Calibration White, a specific color chosen for calibration or verification purposes. To address these issues a study group was created within the SMPTE 21DC Technology committee. This Study Group was tasked to report on and recommend solutions to these issues noted above. This report will provide definitions of terms that relate to White Gamut, and White Point. It will also report on findings of current practices in both the mastering environment and exhibition community. Finally the report will provide a recommendation for a proposed constrained White Gamut and will seek to point out all relevant SMPTE documents that would need modification to support this proposal. The SMPTE Digital Cinema White Gamut Study Group began its effort in December of 2006. The report was finished in June of 2008 and the Study Group was tasked to provide a demonstration of its findings and consequences to the general Hollywood SMPTE and ASC community. This task was finally completed on March 24, 2009 at the Linwood Dunn Theatre of the Academy of Motion Picture Arts and Sciences during a joint Hollywood Chapter SMPTE and ASC meeting.
Publication Date: 2009-10-01
DOI: 10.5594/J15984
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/J15984
Author(s): Rod BogartIndustrial Light & Magic
bio
Rod Bogart joined Pixar in 2005 after spending ten years as a software engineer at Industrial Light & Magic. He has a M.S. from the University of Utah, where he specialized in computer graphics. At Pixar, Bogart is in charge of color science at the studio, overseeing the technology for creating the final distributed masters of the movies. His initials are RGB.
Rick SayreIndustrial Light & Magic
bio
Rick Sayre has been at Pixar Animation Studios for more than two decades. His feature credits include almost every Pixar film from Toy Story to Up. Alongside his production responsibilities, Sayre is one of a council of three who serve as CTO for the Studio. Sayre has also been involved extensively in theater and interactive art, and drew from this experience to develop an innovative animation input device, for which he received a SciTech Academy Award. He is a member of the Academy of Motion Picture Arts And Sciences, on whose Science and Technology Council he serves, the British Academy of Film and Television Arts, the Visual Effects Society and SMPTE.
Copyright: © 2009 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

SMPTE 428–1–2006, “SMPTE Standard—D-Cinema Distribution Master—Image Characteristics,” www.smpte.org . EXTERNAL
SMPTE 431–1–2006, “D-Cinema Quality—Screen Luminance Level, Chromaticity and Uniformity,” www.smpte.org . EXTERNAL
SMPTE RP 431–2–2007, “Reference Projector and Environment for Display of DCDM in Review Rooms and Theatres,” www.smpte.org . EXTERNAL
SMPTE EG 432–1–2007, “Digital Source Processing—Color Processing for D-Cinema,” www.smpte.org . EXTERNAL

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Rod Bogart and Rick Sayre; SMPTE Digital Cinema White Gamut Practices Study Group Report, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 7, October 2009); SMPTE, 2009. Available at https://doi.org/10.5594/J15984

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Rod Bogart and Rick Sayre; SMPTE Digital Cinema White Gamut Practices Study Group Report, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 7, October 2009); SMPTE, 2009. Available at https://doi.org/10.5594/J15984

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<span class="citation">Rod Bogart and Rick Sayre; <cite>SMPTE Digital Cinema White Gamut Practices Study Group Report</cite>, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 7, October 2009); SMPTE, 2009. Available at <a href="https://doi.org/10.5594/J15984" target="_blank" rel="noopener">https://doi.org/10.5594/J15984</a></span>

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Rod Bogart and Rick Sayre; SMPTE Digital Cinema White Gamut Practices Study Group Report, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 7, October 2009); SMPTE, 2009
doi: 10.5594/J15984
url: https://doi.org/10.5594/J15984

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Rod Bogart and Rick Sayre; <cite id="bib-10-5594-j15984">SMPTE Digital Cinema White Gamut Practices Study Group Report</cite>, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 7, October 2009); SMPTE, 2009
<span class="doi">10.5594/J15984</span>
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