American Cinematographer - December 2009 - 20

described the latest developments: “I think we’ve crossed a threshold, and the effort is gathering speed. It feels like the nature of where we are has shifted from figuring it out to executing it, to supporting a next-generation ecosystem. The response from manufacturers has been extremely encouraging.” The Technology Committee’s Advanced Imaging Subcommittee was also actively involved with the Academy, mainly in support of the Academy’s Digital Motion Picture Camera Assessment project, which is being conducted on a stage at the Pickford Center for Motion Picture Study. There, subcommittee members have been assisting with efforts to objectively and technically characterize cameras and display devices. As part of the ongoing study of materials generated by the CAS, the Advanced Imaging Subcommittee will be working with the Academy Sci-Tech Council to process two cameras’ data using an IIF/ACES-based post workflow. The Technology Committee’s DI Subcommittee continued its work on the ASC CDL, publishing v1.2, which added a Saturation function to the previously defined Slope, Offset and Power functions. The ASC CDL also turned out to be important during post on the CAS project, when the Power function was used to bring the DPX files closer to Cineon print density without relying upon any proprietary, facilitybased “secret sauce” conversions. Over the coming year, the DI Subcommittee hopes to help coordinate the use of the ASC CDL within the Academy’s IIF project. The Metadata Subcommittee also collaborated with the Academy Sci-Tech Council, with the two groups continuing their joint effort to devise a common look-up table format so that LUTs can be more easily stored and exchanged. The Metadata Subcommittee also participated in the European Digital Cinema Forum in Oslo in May. The Digital Preservation Subcommittee reported some positive movement, with the industry possibly beginning to agree on the use of YCM separation masters to preserve theatrically released features. The question of what to do with all the footage not used in the final cut remains open, however. With CRT monitors quickly disappearing, there is still no clear replacement, according to the Digital Display Subcommittee. The choice between plasma or LCD is still an open question, and the subcommittee will continue to investigate options, including the LED monitors that appear to be on the horizon. The subcommittee also supported the CAS project, helping to define the DI pipeline and the deliverables, specifically DCP and film prints. Another upcoming issue for the Digital Display Subcommittee is 3-D monitoring, which will create challenges in post and mastering, and which also overlaps the territory of the 3-D Subcommittee. According to the 3-D Subcommittee’s investigation into stereoscopic delivery for TV, there is still no industry consensus about how to deliver, so various manufacturers are developing their own solutions and readying them for presentation to and evaluation by the cinematography community. In the coming year, some key issues that the Technology Committee plans to address will include “raw” vs. HD signal processing; increasing bit depth from 10-bit to 12-bit, 14-bit or 16-bit; management of image data in a consistent, non-proprietary way; on-set look management; improved workflows in both 2K and 4K; enhancements of the ASC CDL; further development of metadata that can convey image and data characteristics from camera to post to visual effects to editorial; the transition from 2K to 4K digital projection, and the exploration of the virtual camera/production space. Now that the ASC Clubhouse renovations are close to complete, the Technology Committee can look forward to returning to a regular meeting schedule. Information about meetings and events can be found on the ASC Web site: www.theasc.com. I

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American Cinematographer - December 2009

Table of Contents for the Digital Edition of American Cinematographer - December 2009