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January 27, 2005 X’Y’Z’ Color Encodingfor Digital Cinema Distribution Glenn Kennel HPA Technology Retreat January 27, 2005 SMPTE Color AHG Prinyar Boon Matt Cowan Chuck Harrison Jim Houston George Joblove Glenn Kennel Howard Lukk Tom Maier Arjun Ramamurthy Jeremy Selan John Silva Kaz Tsujikawa Brad Walker Ron Williams Color Image Encoding Choosing a Color Space for the DCDM Why X’Y’Z’? Color in the Overall Workflow Color Encoding and Decoding Digital Intermediate Workflow Video Masters Conclusions Basic Requirements for DCDM Color Encoding One master shall play on all projectors and look the same (device independent) Open standard with no licensing fees Extensible to wider color gamut and wider contrast in future projectors Future masters shall be backward compatible with today’s projectors Can be implemented in today’s mastering environment Planning for the Future Color Space Options Considered R’G’B’ using extended gamut DLP primaries with Xenon light source Parametric R’G’B’- R’G’B’ with metadata to define color primaries of Reference Projector Wide gamut R’G’B’ using CIE 1931 XYZ color primaries- hereby called X’Y’Z’ Based on international color standard Explicit device independence, extensibility, backward compatibility Robust implementation, not dependent on metadata Color in the Overall Workflow Mastering Projector(Used in Content Creation or Color Grading) Mastering Projector Primaries Today, the projectors used in mastering are DLP CinemaTM projectors, with a color gamut expanded beyond CCIR 709 to more closely match film Mastering Projector White Point Although white point is independent of color encoding, A consistent white point target (and tolerances) for mastering and cinema projectors is important Considering the installed base of Xenon projectors, we recommend a calibrated white point of (0.314, 0.351), CCT 6300K Mastering Projector Peak White Existing digital cinema practice sets the peak white at 12 ftL (42 cd/m2) DCI tests verified tha