| Foreword | | ix | |
| | 1 | (14) |
| Advantages and Challenges of Digital Technology for Motion Pictures |
| | 2 | (5) |
| Who Is Working to Develop Specifications and Standards? |
| | 7 | (8) |
| The New Post Production Workflow: Today and Tomorrow |
| | 15 | (42) |
| The Traditional Post Production Workflow |
| | 16 | (19) |
| The Modern Motion Picture---the New Digital Workflow |
| | 35 | (22) |
| | 57 | (26) |
| ``Faithful'' and ``Pleasing'' Reproduction |
| | 57 | (1) |
| | 58 | (4) |
| | 62 | (3) |
| Issues in Color Image Data Representation |
| | 65 | (11) |
| | 76 | (2) |
| Choice of a Color Coding System |
| | 78 | (1) |
| | 78 | (2) |
| The Challenge of Wide-Gamut Reproduction |
| | 80 | (2) |
| | 82 | (1) |
| | 83 | (38) |
| | 86 | (4) |
| | 90 | (7) |
| Creative Image Manipulation |
| | 97 | (10) |
| Audio Preparation: An Expanded Scope |
| | 107 | (3) |
| | 110 | (6) |
| | 116 | (5) |
| Compression for Digital Cinema |
| | 121 | (28) |
| | 122 | (1) |
| Why Is Compression Needed for Digital Cinema? |
| | 122 | (5) |
| | 127 | (3) |
| Compression systems for motion pictures |
| | 130 | (3) |
| | 133 | (1) |
| | 133 | (9) |
| | 142 | (4) |
| Compression systems and standards |
| | 146 | (1) |
| Intellectual property and licensing |
| | 147 | (1) |
| | 148 | (1) |
| | 149 | (34) |
| | 149 | (5) |
| The Value of Security in the Supply Chain |
| | 154 | (4) |
| Review of Early Fielded Systems |
| | 158 | (2) |
| | 160 | (3) |
| | 163 | (20) |
| | 183 | (24) |
| The Historical View and Opportunity |
| | 184 | (3) |
| The Current Status of Cinema Audio |
| | 187 | (1) |
| | 187 | (2) |
| | 189 | (1) |
| | 190 | (5) |
| Channel Maps and Labels: Legacy Channels |
| | 195 | (4) |
| | 199 | (5) |
| | 204 | (3) |
| Digital Cinema Distribution |
| | 207 | (20) |
| | 209 | (1) |
| | 210 | (1) |
| | 211 | (1) |
| | 212 | (1) |
| | 213 | (1) |
| | 214 | (7) |
| Case Study: Warner Bros. Entertainment Inc.: Proof-of-Concept |
| | 221 | (6) |
| | 227 | (30) |
| Viewing Characteristics of the Theatre |
| | 228 | (2) |
| Projection System Performance Parameters and Measurement Methods |
| | 230 | (10) |
| | 240 | (6) |
| | 246 | (1) |
| Aspect Ratios Sizing and Lensing |
| | 247 | (2) |
| Convergence and Registration |
| | 249 | (1) |
| | 250 | (1) |
| Image Quality: The Reference Projector |
| | 251 | (1) |
| Projection System Data Interfaces |
| | 252 | (1) |
| | 252 | (1) |
| Candidate Projection Technologies |
| | 253 | (4) |
| | 257 | (22) |
| | 259 | (2) |
| | 261 | (1) |
| Media Block Architectures |
| | 261 | (9) |
| Operations and Maintenance |
| | 270 | (1) |
| | 270 | (1) |
| | 271 | (1) |
| Show Play Lists and Schedules |
| | 272 | (1) |
| | 273 | (1) |
| Supervisory Controls and Monitoring |
| | 273 | (1) |
| | 274 | (1) |
| Piracy Protection and Security |
| | 274 | (3) |
| | 277 | (1) |
| | 277 | (2) |
| An International Perspective |
| | 279 | (26) |
| | 279 | (6) |
| | 285 | (4) |
| Europewide Sponsored Projects |
| | 289 | (3) |
| | 292 | (4) |
| | 296 | (4) |
| | 300 | (5) |
| Appendix The DC28 Standard | | 305 | (2) |
| Contributor Biographies | | 307 | (6) |
| Index | | 313 | |
