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Garrett Smith, John Scheele and David Morin Ron Burdett, Bill Downloaded at SMPTE Member on 2013-10-11 from IP 108.23.17.102 @ SMPTE All Rights Reserved 2013, 122:46-53. doi: 10.5594/j18314 located on the World Wide Web at: SMPTE Mot. Imag. J Garrett Smith, John Scheele and David Morin http://journal.smpte.org/content/122/6/46.citation The online version of this article, along with updated information and services, is Curtis Clark, David Reisner, David Stump, Ron Garcia, Lou Levinson, Al Barton, Ron Burdett, Bill Feightner, Gary Demos, Don Eklund, Eric Rodli, Steve Schklair, Report from the American Society of Cinematographers Technology Committee Report from the American Society of Cinematographers Technology Committee By: Curtis Clark, ASC; David Reisner; David sion in the color grading. Even though many current projectors Stump, ASC; Ron Garcia, ASC; Lou Levinson; and monitors display only 10 bits, preserving 16-bit wide-gamut Al Barton; Ron Burdett; Bill Feightner; Gary color in the ACES master effectively preserves the creative con- Demos; Don Eklund; Eric Rodli; Steve Schklair; tent for future display devices that will be able to display great- Garrett Smith; John Scheele; David Morin er bit-depth images containing significantly improved contrast, along with higher resolution and increased image brightness. (Affiliations (as requested): David Reisner, D-Cinema Consulting) Another crucial advance regarding the importance of 4K is the abil- ASC Technology Committee Officers ity (and need) to differentiate the effect of grater spatial resolution Chair: Curtis Clark, ASC from image sharpness. Unfortunately, resolution and sharpness are Vice-Chair: Richard Edlund, ASC frequently and mistakenly conflated. As the latest generation of 4K Vice-Chair: Steven Poster, ASC digital motion picture cameras move beyond the constraints of HD Secretary: David Reisner (1920 x 1080) spatial resolution, we can leave behind the HD vid- Introduction eo camera imaging parameters, which invariably incorporate de- grees of electronic image sharpening that are intimately associated ASC Technology Committee Chair: Curtis Clark, ASC with a video look. The latest digital motion picture cameras, for ex- ample the F65 and F55, rely primarily on greater spatial resolution From its inception in 2003, the ASC Technology Committee has been and tonal contrast as does film. This can facilitate a more filmic guided by its primary mission to engage and influence motion imag- look for the digital camera image. Of course, camera lens selection ing technology developments in ways that better serve and protect the is equally vital regarding resolution and contrast, as the apparent filmmaker’s creative intent and the role of the cinematographer in re- photographic sharpness of the image is ultimately dependent on alizing a creative vision. lens performance and accurate lens focus at the camera focal plane. Since our last report in September 2012, very constructive ongoing In summary, 4K spatial resolution (without artificially enhanced elec- work has been done by our ASC Technology Committee and subcom- tronic image sharpening), along with wide-gamut color with great- mittees that follow through with the excellent work that was accom- er bit-depth, enables the digital motion picture camera to obtain a plished between September 2011 and September 2012. Significant ad- more filmic look, especially using ACES color encoding. This per- vances that were being made regarding on-set/near-set workflow for spective is vital for motion pictures made for theatrical release, but look and data management of digital camera images dominated the also very relevant for scripted TV dramas. It is also important for the content of our 2012 report. 4K spatial resolution derived from camera future UHDTV and the upcoming new 4K Blu-ray standards. RAW was beginning to make its mark, but the broader implication of its creative significance was only just starting to be understood. With Our new UHDTV subcommittee chaired by Don Eklund is proac- greater practical experience gained from using 4K cameras (especially tively addressing the consequences of 4K UHDTV (quad HD) and the Sony F65 and Sony F55) for both theatrical motion picture and TV the next generation Blu-ray standard, as well as the next generation scripted drama production, the superior imaging attributes of greater 4K display devices. bit depth, wide color gamut and 4K using ACES (the Academy of Mo- Our Motion Imaging Workflow subcommittee, co-chaired by Al tion Picture Arts and Sciences (AMPAS) Academy Color Encoding Barton, Ron Burdett, and Bill Feightner, is applying the lessons be- System) color management, have become increasingly clear. ing learned from our on-set/near-set testing with ACES color en- Creative Importance of 4K Spatial Resolution coding to create a set of best practice workflow recommendations. Our new Laser Projection subcommittee, co-chaired by Eric Rodli and From a creative perspective, greater spatial resolution (e.g., 4K) is a vi- Steve Schklair, is addressing the next-generation laser projection. tal component of a creatively enhanced digital motion imaging canvas that also needs to include wide-gamut color with increased color bit- We also have important reports from our Advanced Imaging sub- depth, e.g., 16-bit, along with the ability to reproduce a high dynam- committee, chaired by Gary Demos, vice-chaired by Jim Fancher and ic range of scene tones consisting of at least 14 stops. The fusion of Phil Feiner; our Virtual Production Committee, chaired by David 4K spatial resolution with 16-bit wide-gamut color and high dynamic Morin and co-chaired by John Scheele; reports from our Camera and range produces a superadditive synergy where the resulting effect is Metadata subcommittees, chaired by David Stump, ASC; and our greater than the simple sum of each component’s effect on its own. Enlightenment subcommittee, chaired by Ron Garcia, ASC. The ability to reproduce more finely resolved (4K) image detail can Special mention should be given to the work of our Digital Finish- now take full creative advantage of increased color bit-depth code ing (formerly Digital Intermediate) subcommittee, chaired by Lou values (e.g., 65,000+ CVs for 16-bit) to reproduce more nuanced Levinson and vice-chaired by Josh Pines with David Reisner serving color and tonal contrast. Working in ACES both preserves 16-bit as secretary. We are the proud recipients of a 2012 Primetime Emmy wide-gamut color from camera RAW and facilitates greater preci- Engineering Award for our ASC CDL. We are also proud to have been 46 // SMPTE Motion Imaging Journal September 2013 REPORT FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS TECHNOLOGY COMMITTEE proactive contributors to the success of ACES, which was also given a This time the testing encompassed two “cinematic” scenes: “Seri- 2012 Primetime Emmy Engineering Award received by AMPAS. ous News,” a daytime, harshly lit interior/exterior scene designed to test the contrast range and resolution of each digital camera, and Camera Subcommittee “Cinema Italiano,” a night exterior in the rain that was designed to test each digital camera’s sensitivity, color, contrast range and Chair: David Stump, ASC resolution compared to film. Vice-Chair: Richard Edlund, ASC Each digital cinematography camera was shot in round robin order. The ASC Technology Committee Camera subcommittee was ac- Results were shown dual-stimulus against the industry benchmark tively involved in designing, planning, and shooting the ASC-PGA of film. Cameras tested were the ARRI Alexa Studio, Canon C300, Image Control Assessment Series (ICAS). The Camera subcommit- Red Epic, Sony PMW-F3 and Sony F65, as well as an ARRI 435 tee has also been working with the SMPTE 21DC Higher Frame film camera. Rates Study Group to design appropriate higher frame rate (60, 100, 120 frames/sec) test and demonstration material. ICAS was finished using an ACES workflow at Sony Colorworks in Culver City. The results were shown at the PGA Produced By con- 4K imaging, especially when accompanied by wide dynamic range ference, at AMPAS, at the ASC in both Los Angeles and New York, and wide color space, provides a meaningfully improved palette and at several conferences internationally. These tests have been for the cinematographer and allows for a meaningfully improved greatly informative for cinematographers and for the production audience experience. ICAS was shot, post-produced, and presented community in general. in 4K. This year seems to have been an industry tipping point in the adoption and proliferation of 4K. 4K is rapidly becoming the High Frame Rates in Cinema default assumption for new cameras and for feature-level post-pro- Film cameras have historically used a frame rate of 24 frames/sec duction. “4K” has also become a default for marketing and spec with 180 degree shutter angle, which yields an exposure time of sheets, requiring some careful evaluation by potential buyers. 50% of 1/24th of a second = 1/48th of a second. In subject matter The Camera subcommittee is presently working with the recently where there is fast lateral motion or when the camera pans quickly, formed UHDTV subcommittee, exploring the issues of color space the resulting images can strobe, which is distracting to viewers and encoding, compression codecs, and bit rates, and with AMPAS on can reduce the realism of a scene. The apparent motion looks like the ACES RRT work. rapidly flashing images instead of a continuous motion. Addition- ally, when viewing stereoscopic 3D imagery, this “strobing” effect The subcommittee is working
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