Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data

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Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE J
Volume: 111, No. 2, pp. 85–96
Abstract: Numerous factors contribute to onscreen image quality of cinema systems. Using a combination of new and traditional measurement techniques, the image quality of different capture technologies is measured; a framework for the analysis is defined; and metrics of limiting resolution, frequency response slope, image sharpness, sharpening artifacts, aliasing, and depth of field are reviewed. Highlighted is the dynamic range in terms of a Universal Model, which applies to digital intermediate (or data-centric) cinema imaging systems. This paper compares the values of these performance metrics for film and electronic-based imaging technologies—important because they influence how well a scene is represented to the viewer. We hope that this knowledge will improve onscreen image quality and provide cinematographers and directors with the tools to give cinema and in-home viewers a richer experience.
Publication Date: 2002-02-01
DOI: 10.5594/J16392
ISSN: Print: 0036-1682
Link: https://doi.org/10.5594/J16392
Author(s): Roger R. A. MortonEastman Kodak Co., Rochester, NY 14650.
bio
Roger R. A. Morton is a Research Fellow at Eastman Kodak Co. His Ph.D. in electrical engineering is based on research in digital imaging. During his career, Morton has developed new digital concepts and brought them to market. He is a pioneer in algorithms for image analysis, analysis of optical and x-ray images, digital three-dimensional printing and display, and automatic audio equalization. In recognition of this pioneering and innovative work, Morton has 60 U.S. patents and numerous foreign patents.
Michelle A. MaurerEastman Kodak Co., Rochester, NY 14650.
bio
Christopher L. DuMont is a senior technical associate with Eastman Kodak Co. He has a B.S. in imaging science and an M.S. in analytical chemistry from RIT. DuMont has worked in motion picture systems studies for the last 12 years, developing new negative, intermediate, hybrid, and digital products for use in the motion picture industry. His most recent projects were developing the Kodak Preview System, and novel technologies for use in the exhibition industry. DuMont, a SMPTE Fellow, has been the author and presenter at numerous SMPTE conferences and holds six patents in the imaging science field for Kodak.
Christopher L. DuMontEastman Kodak Co., Rochester, NY 14650.
bio
Michelle A. Maurer is an Applied Research Scientist at Eastman Kodak Co. She has a B.S. in chemistry, with a minor in computer science from the University of Buffalo. During her 10 years at Kodak she has been involved in the design of new films using computer modeling and simulation. Maurer has contributed to the creation of Kodak's SFX200T film and the Vision and Vision Premier print films. Among her many investigations she has assessed color reproduction and the impact and interrelationship of contrast and film sharpness for motion picture films. She has also been extensively involved in assessments by customers of Kodak products.
Copyright: © 2002 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

High-Resolution Electronic Intermediate System for Motion-Picture Film [Active]
SMPTE Technology Committee on Digital Cinema—DC28: A Status Report [Active]
ISO.12233 — 4. “ISO 12233: 2000 Photography-Electronic Still Picture Cameras—Resolution Measurements,” published Sept. 1, 2000 . EXTERNAL
11. Sine wave target purchased from Sine Patterns LLC, 3800 Monroe Ave., Pittsford, NY 14534, www.sinepatterns.com . EXTERNAL
13. Barten Peter G. J. , “Contrast Sensitivity of the Human Eye and Its Effects on Image Quality,” SPIE Optical Engineering Press , 1999 , pp. 27 – 60 . EXTERNAL
14. Schwartz S. H. , Visual Perception , McGraw-Hill , 1998 , pp. 26 . Here Schwartz reports a dynamic range from 106 to 10–9 cadelas/m2—a range of 1015 including all mechanisms in the human eye, and that photopic vision covers a range of 106. EXTERNAL
3. Converting the 1.77 (16/9) aspect ratio HDTV format to 1.85 involves cropping off approximately 2% from the top and bottom of the image. This is not a significant loss; however, converting to CinemaScope format 2.35 aspect ratio requires 12% of picture height crop off the top and bottom. In the case of film, cinematographers have the choice of cropping 11% off the top and bottom of the 1.85 aperture image or using anamorphic camera lenses designed for CinemaScope format. Anamorphic lenses stretch the image to cover the 1.33 (4/3) film aperture. EXTERNAL
4. “Reference Output Medium Metric RGB Color Space (ROMM RGB) White Paper,” http://www.kodak.com/go/romm_rgb . EXTERNAL
5. We recommend shooting full-aperture width 35 for scene-to-digital systems, because it makes full use of the available film width and can be scaled digitally to the final format dimensions. EXTERNAL
6. ANSI/SMPTE 268M-1994, “File Format for Digital Moving-Picture Exchange (DPX),” Approved Feb. 18, 1994 . EXTERNAL
7. Based in part on work of Ozkan M. K. Sezan M. I. Erdem A. T. Tekalp A. M. , “Multiframe Wiener Restoration of Image Sequences,” Motion Analysis and Image Sequence Processing , Kluwer Publishers , 1993 . EXTERNAL
8. Detail was set to OFF. The 23 detail-related controls were also set to zero or OFF, with the exception of Skin Detail—CH SW: 1 ON, 2 OFF, 3 ON; Width 30, 30, 30; Saturation −89, −89, −89. EXTERNAL

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Roger R. A. Morton, Michelle A. Maurer, and Christopher L. DuMont; Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data, SMPTE Journal ( Volume: 111, Issue: 2, 2002); SMPTE, 2002. Available at https://doi.org/10.5594/J16392

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Roger R. A. Morton, Michelle A. Maurer, and Christopher L. DuMont; Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data, SMPTE Journal ( Volume: 111, Issue: 2, 2002); SMPTE, 2002. Available at https://doi.org/10.5594/J16392

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<span class="citation">Roger R. A. Morton, Michelle A. Maurer, and Christopher L. DuMont; <cite>Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data</cite>, SMPTE Journal ( Volume: 111, Issue: 2, 2002); SMPTE, 2002. Available at <a href="https://doi.org/10.5594/J16392" target="_blank" rel="noopener">https://doi.org/10.5594/J16392</a></span>

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Roger R. A. Morton, Michelle A. Maurer, and Christopher L. DuMont; <cite id="bib-10-5594-j16392">Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data</cite>, SMPTE Journal ( Volume: 111, Issue: 2, 2002); SMPTE, 2002
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