Direct Display of Integer ACES Content for Post-Production Environments

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 121, No. 3, pp. 46–51
Abstract: The Image Interchange Framework (IIF), created by the Academy of Motion Picture Arts and Sciences with the goal of providing a unified post-production workflow, has seen increased interest in recent years. Central to the IIF is the red, green, and blue wide-gamut color space defined by the Academy of Color Encoding Specification (ACES). For output device viewing, the ACES data must first be rendered through the reference rendering transform (RRT) and the output device transform (ODT). Recently, a quasi-logarithmic 12-bit integer ACES encoding scheme was proposed, and initial results are presented on the direct display of integer ACES content on a Dolby PRM-4200 monitor. Frames were delivered directly to the monitor across a 12-bit dual-link serial digital interface, and the decoding RRT and device ODT were computed via one- and three-dimensional (3D) lookup tables (LUTs) resident on the monitor. Several LUT designs were considered, and the limitations of each, including failure modes, are discussed.
Publication Date: 2012-04-01
DOI: 10.5594/j18161
ISSN: Print: 1545-0279
Link: https://doi.org/10.5594/j18161
Author(s): Jon S. McElvain
bio
Jon McElvain is currently with the Image Tech Research division of Dolby Laboratories, based in Burbank, CA. He specializes in camera and display systems, image quality quantification, and image processing algorithm development. His previous positions were with Digital Imaging Systems GmbH, Micron Inc. (imaging division, now Aptina) and with Xerox Corp. He has more than 20 publications and holds 24 patents, with another 12 patents pending. He is a member of SMPTE, IS&T and IEEE, and is the past-chair of the IEEE Standing Committee on Industry Signal Processing Technology (IDSP). McElvain received a B.S. in physics from the University of California, San Diego; a M.A. in physics from the University of California, Berkeley; and a Ph.D. in physics from the University of California, Santa Barbara.
David Ruhoff
bio
David Ruhoff is a senior staff engineer in the Image Technology Research department at Dolby Laboratories. He has more than 30 years of software development experience in diverse applications such as logic simulation and compilers. Since 1982, he has focused on computer graphics, film scanning and recording, video, and compression. In 1984, he received screen credit for his work on The Last Starfighter, one of the first full-length motion pictures to use extensive CGI. In 1996, he received an Academy Technical Achievement Award for pioneering efforts in the creation of the Digital Film Compositing System at Digital Productions.
Glenn Woodruff
bio
Glenn Woodruff is a project engineer at Dolby Laboratories, concentrating on color engineering, video processing, and monitoring. Before joining Dolby, Woodruff was Employee #1 at Cine-tal Systems and has previously held positions with Truevision and Pinnacle Systems. He received a B.S.E.E. degree from Purdue University in 1997.
Walter Gish
bio
Walter Gish is principal member at Dolby's Image Technology Research and Development group, where he leads research and development efforts for next-generation imaging technology. He has more than 30 years of experience in signal and image processing, high-performance computing, and hardware development. Gish began his career working on classified (Top Secret) sonar, radar, and image analysis applications for the U.S. government. Since the early 1980s he has focused on computer graphics, video, and display technology. Prior to joining Dolby Laboratories he was Principal Engineer at Evans & Sutherland, executive scientist at Terabit, and chief technology officer at Interactive Machines, Inc. — Gish received screen credit for his work on The Last Starfighter, the first full-length motion picture to use extensive CGI. He received special recognition from ISO/IEC for his contributions to the development of the High Profiles for H.264/AVC, which were awarded an Emmy in 2008. His current interests include compression algorithms, high dynamic range and wide color gamut imaging technology, and forensic watermarking. Gish received a B.S. and M.S. in physics and applied mathematics from the California Institute of Technology in 1968 and 1970, respectively.
David Schnuelle
bio
Dave Schnuelle represents Dolby Laboratories as senior director, image technology, and is responsible for guidance in Dolby's efforts in the television, cinema, and consumer imaging areas. He began his career as an engineer on television outside broadcasts while attending Purdue University. Schnuelle later held positions as chief engineer at various post-production facilities such as Editel and Modern VideoFilm in Los Angeles.
Copyright: © 2012 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

Report on Committee to Consider Correspondence Course for Projectionists [Active]
1. FCD SMPTE ST2065-1 “Academy Color Encoding Specification (ACES),” Apr. 2011 . EXTERNAL
2. Frazer Bryant “Is Justified's New Workflow the Future of Cinematography? Why the Academy's IIF-ACES Post Process Means Better Color,” StudioDaily , Feb. 2011 , http://www.studiodaily.com/main//Is-Justifieds-New-Workflow-the-Future-of-Cinematography_12916.html . EXTERNAL
4. Josh Pines, private communication within the Academy of Motion Picture Arts and Sciences Image Interchange Framework workgroup. EXTERNAL
5. Center for Imaging Science, Rochester Institute of Technology “The HDR Photographic Survey,” html” http://www.cis.rit.edu/fairchild/HDR.html . EXTERNAL
6. Kasson J. Nin S. Plouffe W. Hafner J. “Performing Color Space Conversions with Three-dimensional Linear Interpolation” , J. of Electron. Imag. , 4 (43) : 226 250 , July 1995 . EXTERNAL
7. SourceForge “The Color Transformation Language,” http://ampasctl.sourceforge.net/ . EXTERNAL

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Jon S. McElvain, David Ruhoff, Glenn Woodruff, Walter Gish, and David Schnuelle; Direct Display of Integer ACES Content for Post-Production Environments, SMPTE Motion Imaging Journal ( Volume: 121, Issue: 3, April 2012); SMPTE, 2012. Available at https://doi.org/10.5594/j18161

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Jon S. McElvain, David Ruhoff, Glenn Woodruff, Walter Gish, and David Schnuelle; Direct Display of Integer ACES Content for Post-Production Environments, SMPTE Motion Imaging Journal ( Volume: 121, Issue: 3, April 2012); SMPTE, 2012. Available at https://doi.org/10.5594/j18161

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<span class="citation">Jon S. McElvain, David Ruhoff, Glenn Woodruff, Walter Gish, and David Schnuelle; <cite>Direct Display of Integer ACES Content for Post-Production Environments</cite>, SMPTE Motion Imaging Journal ( Volume: 121, Issue: 3, April 2012); SMPTE, 2012. Available at <a href="https://doi.org/10.5594/j18161" target="_blank" rel="noopener">https://doi.org/10.5594/j18161</a></span>

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Jon S. McElvain, David Ruhoff, Glenn Woodruff, Walter Gish, and David Schnuelle; <cite id="bib-10-5594-j18161">Direct Display of Integer ACES Content for Post-Production Environments</cite>, SMPTE Motion Imaging Journal ( Volume: 121, Issue: 3, April 2012); SMPTE, 2012
<span class="doi">10.5594/j18161</span>
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