By Peter R Swinson (November 2005) This document attempts to explain some of the isssues facing compliance with the DCI specification for producing Digital Cinema Distribution Masters (DCDM) when the source material is of an aspect ratio different to the two 2K and 4K DCDM containers.
Background
Early Digital Projection of varying Aspect Ratios. Digital Cinema Projectors comprise image display devices of a fixed aspect ratio. Early Digital Cinema projectors utilised non linear (Anamorphic) optics as a means to provide conversion from one aspect ratio to another, the projectors also generated images using less than the full surface area of the image display devices to provide other aspect ratios, and, on occasions, the combination of both. Film Aspect Ratios Since the inception of Film many aspect ratios have been used. For Feature Films, the film image width has remained nominally constant at what is known as the academy width and the aspect ratio has been determined by the height of the image on the film. One additional aspect is obtained using the same academy width but also using a 2:1 non-linear anamorphic lens to compress the horizontal image 2:1 while filming. A complimentary expanding 2:1 anamorphic lens is used in the cinema. This anamorphic usage ensures that the films full image height and width is used to retain quality. This is known generally as Cinemascope with an aspect ratio of 2.39:1. For those who carry out film area measurements against aspect ratios, this number is arrived at by using a slightly greater frame height than regular 35mm film. To accommodate any aspect ratio of film in the cinema, tradition has it, that where possible, the desired film image height always fills the cinema screen height and the aspect differences are accommodated by a combination of different magnification projector lenses and curtain masking horizontally. Such combinations ensure the maximum use of film resolution onto the screen. Regardless of the film shoot and displayed aspect ratio, it is common for the actual film image to always be shot and printed full film frame height; even for 1:85:1 projection. The parts of the image not designed to be shown are masked in the film projector. See Figure 4. This is a dilemma for archivists of the future as we shall see. DCI Aspect Ratio recommendations The DCI DCDM recommendation offers two native aspect ratios 1.85:1 and 2.39:1. This paper raises the issues of how to accommodate other aspect ratios, both film and TV, into these two standardised DCDM ratios, especially when considering creating Digital Source Masters (DSM).
Some basics of the DCI standard. 1) Single Projector lenses. No non linear or variable magnification lenses. 2) DCI does not concern itself with DSM standards. 3) DCI specifies two projection resolutions, 2K and 4K. 4) DCIs DCDM container provides for 1.85:1 and 2.39:1 4) DCI members suggest that other aspect ratios be accommodated by reducing displayed width. (EDCF DCI meeting IBC 2005). Concerns 1) Is the industry going to produce (DSM)s with different base resolutions to DCDMs. 2) DSMs influence the Digital Intermediate (DI) business. 3) If mastering for DCDM from non DCDM projection aspects, how are they best fitted to the DCDM standard container. 4) While unsqueezed anamorphic camera aspect is 2:39, the projected ratio is 2.35 to avoid splices showing on cut material. 5) What quality issues are there regarding 3 above. 6) Can we agree a standard for ALL existing and potential future formats. (For example; Hollywood creatives, at the inception of Digital Cinema desired a 2:1 ratio, could this be a new standard with Digital capture!)
Figures 1, 2, 3 and 4 show 35mm Film and TV Format aspect ratios and how each will best fit the DCDM container. Only the 2K container has been considered as has only 2K scanning of 35mm film. The 4K scenario is a simple ratio to both the scanning and container, double everything, use pixel numbers twice the values shown. For best quality DSMs the pixel resolutions shown on the source images in figures 1, 2 and 3 should be considered, or indeed it could be argued that the DSMs should always, from camera negative, be 4K scanned; even if the DCDM version is only at a nominal 2K. Moreover for wide-screen formats, as Figure 5 shows, it should be considered for Digital Archive scans to scan the entire film frame rather than just the composed wide-screen area. As can be seen from the figures the quality losses when matching to the DCDM container vary dependent upon the source material aspect ratio. It can be argued that for regular 35mm the 1.6% loss for 1.66:1 widescreen is minor. However the 19% loss of quality for Academy and nearly 30% loss for Super35mm full aperture is considerable. There is now a new tendency to shoot Super35mm in widescreen aspects. As shown in figure 2, these will also suffer varying degrees of losses if a DCDM is regarded also as the archive master. Cinemascope losses, as shown in figure 3, are interesting. If the source is Cinemascope letterboxed on the film then no losses will occur. However if the image is Anamorphic Cinemascope, a 44% loss in vertical resolution is likely ! For TV, both HD and SD, as as shown in figure 4, there are no losses using the DCDM container. It will be interesting to see whether SD TV is actually uprezzed by 2:1 to fit the container, or whether a smaller, less memory hungry container is devised for SD TV; if there is indeed a market for SD in Digital Cinema. I guess there will be, unless the upcoming generation can all afford HD cameras. It can be seen that all formats/aspect ratios, except Cinemascope, will fit into the DCDM 1.85:1 container. Bearing in mind the losses indicated, it will be wise to not generate DSMs that directly equate in terms of pixels to DCDMs, in all instances. Also archivists should still consider whole frame scans for DSMs of all widescreen formats, else the additional height information may be lost forever! It could be argued that if the DCDM 4K standard is adopted then the losses are avoided, however applying the 2:1 improvement ratio still leaves some scenarios with less than the 4K resolution, that would be desirable for DSMs. Another area of interest is the retention of image graduation, often mistakenly confused with dynamic range. While any bit depth can provide any dynamic range only large bit depth can encompass subtle shading changes within the overall range. The Digital Intermediate industry has today settled on 10 log RGB as providing a range similar to original camera negative film. This, many agree, is similar to 14 to 16 bit linear. The DCDM specification seems to sit at 12 bit XYZ color space with a
gammad transfer characteristic. Whether this can encompass the entire DSM dynanmic range I leave to others to establish! I have not include 16mm, S16mm, 65/70mm or 720P HD in this document. Peter Swinson. Peter Swinson Associates Ltd
Sources
DCI Digital Cinema System Specification V1 The Focal Encyclopedia of Film & Television Techniques (1973 edition) SMPTE 96M (Motion Picture scanned areas for Television) SMPTE 195 (Motion Picture 35mm Projectable Print aperture Areas) SMPTE 233 (Motion Picture 16mm Projectable Print aperture Areas) MPTE 201M (Motion Picture S16mm Camera aperture Areas) SMPTE RP187 (TV Aspect Ratios Defines 4:3 and 16:9 TV Aspect Ratios)