Download Color and Mastering for Digital Cinema (Digital Cinema by Glenn Kennel PDF

By Glenn Kennel

Colour and gaining knowledge of for electronic Cinema explores the results for movie submit construction methods and adjustments required to the helping gear and software program. whereas a brand new idea to the movie group, the choice of the large gamut, output-referred XYZ colour area for electronic cinema distribution is predicated on many years of colour technology and adventure in different industries. the explanation for selecting XYZ and the opposite colour encoding parameters is defined and the e-book additionally presents a whole case learn of the improvement of DLP Cinema?® projectors via Texas tools. ultimately, this e-book explores how the XYZ colour encoding idea should be prolonged to help more desirable show applied sciences within the future.This ebook contains:* fabulous 4-color illustrations that go with the colour technology reasons * by no means ahead of released details from writer Glenn Kennel, an international chief in electronic cinema colour expertise * Descriptions of key matters and historical past on judgements that have been made within the standardization processBy Glenn Kennel, Glenn Kennel is VP/GM of characteristic movie prone at Laser Pacific Media company, a number one supplier of a whole diversity of publish construction providers for tv and have movie. lately, he labored for the DLP Cinema crew of Texas tools in a task that integrated expertise and company improvement. formerly, in a twenty yr profession with Kodak, he led the improvement of the Cineon electronic movie scanners and laser recorders and the prototype HDTV telecine that turned the Spirit Datacine. As a specialist, he helped DCI draft the technical standards for electronic cinema. Kennel additionally chairs the SMPTE DC28 colour advert hoc staff and the DC28.20 Distribution operating team. he's a SMPTE Fellow and has bought the SMPTE magazine Award. he's additionally a member of the Academy of movie Arts and Sciences. * awesome 4-color illustrations praise the colour technology causes* by no means ahead of released details from writer Glenn Kennel, a global chief in electronic cinema colour expertise* This publication describes the major concerns and gives historical past on judgements that have been made within the standardization approach

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Extra resources for Color and Mastering for Digital Cinema (Digital Cinema Industry Handbook Series)

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This is very different from the behavior of an additive digital display where the three color channels are independent. 15 compares a series of color wedges on film and digital. Furthermore, it means that the most saturated colors that film can reproduce are dark cyans, magentas and yellows, each produced by a maximum density of its respective image dye, but resulting in low luminance levels. In contrast, the most saturated colors on a digital display are the bright red, green and blue primaries, each produced by the maximum output of its additive color channel, and therefore resulting in the maximum luminance for that channel.

But real color dyes absorb some light at other wavelengths. This is called unwanted absorption, and if uncorrected, would cause color desaturation and hue shifts. Color negative films, however, are designed with built-in chemical color correction in the form of colored couplers. These colored couplers create an orange mask in the film D-min. Since these colored couplers are developed to form image dyes, they provide a compensating masking to correct for the effects of unwanted dye absorption when the negative is printed.

An ideal color dye would absorb light only in its own region of the spectrum. But real color dyes absorb some light at other wavelengths. This is called unwanted absorption, and if uncorrected, would cause color desaturation and hue shifts. Color negative films, however, are designed with built-in chemical color correction in the form of colored couplers. These colored couplers create an orange mask in the film D-min. Since these colored couplers are developed to form image dyes, they provide a compensating masking to correct for the effects of unwanted dye absorption when the negative is printed.

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