by Lidia Paulinska | Nov 21, 2016
October, SMPTE – At the first day of Centennial SMPTE ATC conference three speakers: Paul Debevec, Co-Chairman of Science and Technology Council, George Joblove, Co-Chairman and Jack Holm, Co-Author of Science and Technology Council SSL Project Committee presented the challenges and issues in color rendering using the solid state lighting (SSL) along with a solution – a Cinematographic Spectral Similarity Index. The new color index is based upon the similarity of a luminaire’s spectrum to a reference spectrum that eliminates the need for any assumption of the specific observer or camera spectral sensitivity.
The Academy of Motion Picture Arts and Sciences’ Science and Technology Council has investigated the issue the last few years. The AMPAS project was presented at SMPTE Tech Conference in 2009 (“State of Solid State Lighting”), at NAB conference in 2011 (“Chromatic Chaos: Implications of Newly Introduced Forms of Stagelight”) and again at SMPTE in 2013 (“Color Predictor Tool”). “The Experiment” conducted in 2010 showed that luminaire spectral power distribution affects skin tone, makeup, costumes, props, and sets. It showed differences in color for 4 different sources despite all of them being at the same color temperature.
The characteristics of Spectral Similarity Index (SSI) that is a solution for that issue are following:
- it defines how close a test spectrum is to a reference spectrum (e.g. tungsten),
- does not assume a spectral sensitivity for the camera/film/eye,
- single value representing quality of curve fit,
- index is easy to understand
- easy to include on luminaire/lamp packaging and literature.
The presenters explained the technical aspects of SSI but the final message is that the index yields a confidence factor, where a high score implies predictable color rendition for cinematography, and a moderate score implies possible color rendition challenges. The look of the image and the color of the things on the large screen for cinema, and now with the addition of HDR (high dynamic range) and WCG (wide color gamut) being available on home television screens, means color rendition for projects is once again at the forefront of the content creators vision.
by Tom P Kolodziejak | Aug 21, 2016
ETCA, June 2016 – This year SMPTE had a new venue for their Entertainment Technology in the Connected Age (ETCA) conference, relocating to Campbell CA in the center of Silicon Valley from their prior location at Stanford University. The event was opened by SMPTE President Robert Seidel, who is also the CTO of CBS. He started by emphasizing that for the past 100 years the group has focused not only on the global standards and methods for content creation, but also on the technologies behind getting that content to the people who can enjoy it. This includes the identification and use of new devices and methods as well as the definition to be able to share content among them.
Robert was followed by Pat Griffis who is the VP of Education for SMPTE who is from Dolby Labs. He gave a quick overview of the SMPTE Advanced Technology Conference (ATC) that is being held in October. The 100th anniversary event will be at the Ray Dolby Theater in Hollywood, CA and will feature an opening night Red Carpet event.
The two day event discussed traditional broadcast over the air as well as the addition of Internet based streaming connections to mobile devices and computers. A number of the discussions focused on the change from linear television where the programs are available on a set schedule to the on-demand capability of the viewers as well “binge” watching of shows. It also discussed the place and method of getting user created content up to the cloud, and how to then get that content out to the global viewers.
The lunch time keynote was from AMD announcing their new consumer graphics card for VR applications. The card that was introduced by Roy Taylor retails for $199 and is called the Radeon RX 480. It has been qualified on all VR platforms – Occulus, Valve, and HTC. The price point also makes the card viable for industries that are rapidly adopting AR for their workflows and IT departments. The goal is to make the product available at a price that is not only acceptable by a large range of consumers, but also for both public and private schools.
by Lidia Paulinska | May 22, 2016
April 2016, NAB – At the start of NAB, SMPTE held the Digital Cinema Summit. The highlight speaker was Ang Lee who spoke following a discussion that HDR was not a tradeoff for future films, but was a technology that must be adopted due to its benefits in the story telling and immersive aspects of films. He spoke on pushing the limits of cinema.
One of the examples was with his film “Life of Pi”. In this film, the story is the enticing element. One aspect of the story was how to visually represent an irrational number and bring it to the screen as an experience. The film used 3D as an extra dimension in this story telling. HDR and HFR are also new technologies that can help with the story telling. HFR (High Frame Rate) has been under a recent resurgence as an alternative the traditional 24fps, and have been championed at NAB and other events by Doug Trumbull. Doug has been advocating 120fps content for both 2D and 3D films. Doug’s latest workflows include cameras, servers and editing flow for support of 3D, HDR, and 4K all at 120fps.
The workflow has over 40x the data of standard film, but produces an entirely different cinema experience. At NAB they had previews of an 11min clip of Ang Lee’s new film ‘Billy Lynn’s Long Halftime Walk,’ that was shot in 4K, HDR, 3D at 120fps. The preview was shown using dual Christie laser projectors and standard surround sound.
The clip provided an exposure to a new level of a “clarity of image” that has not been seen before by cinema audiences. This clarity of image defines a new challenge for the storyteller to be able to utilize this technology and enhance the story being told. The HFR feature also brings new cinematic capabilities to both 2D and 3D films. The HFR aspect also brings a new level of brightness and smoothness to the playback which can be used to enhance cinematic emotions and action without causing viewer fatigue. The overall common experience of the audience after viewing the clip – mostly related to technology and secondarily the cinematic use of the technology was “WOW!”.
