1. The DCI Specification for Post Production
IBC
September 11, 2005

2. First an overview, then review each section
DCI Specification
Picture
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG Alpha channel
Flow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
First an overview, then review each section
22 September 2018

3. Simple Functional Flow for Digital Cinema
Digital Cinema Distribution Master
(DCDM)
Digital Cinema Package
(DCP)
Digital Cinema Server
Digital Cinema Projector
Similar to Release Print in Film Cans
Similar to Dupe Neg
Similar to Platter Reel
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4. Digital Cinema Workflow
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5. Digital Cinema Content Preparation Flow and Terminology
Encoding
The process of compressing the image content to condense the large size of the file so it is manageable for distribution and storage
The reverse process of this is called decoding
Encryption
The process of scrambling the content files such that a key is required to unlock the scrambled files
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6. 22 September 2018

7. Creating the Digital Cinema Package
Composition
A feature, a trailer, a logo, a short or an advertisement. Any single complete piece of content.
Packaging
Assembling together all of the encoded and encrypted files and wrapping them up into a complete package for shipment.
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8. Packaging Format Based upon “Reels”
Reels can be electronically spliced together to create a “Composition” (Feature, Trailer, Logo etc.)
Reels include parallel Track Files of different Picture, Sound, Subtitles etc.
Track Files are tied together by Composition Playlists
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9. Example Composition Playlist
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10. Key Management Key Management Key Delivery Message
The process of creating and distributing the Keys required to unscramble the content at the authorized auditorium
Key Delivery Message
The mechanism that is used to transport the keys used to unlock the content in the auditorium at play out.
22 September 2018

11. Theatre Playback System
Server
The device that plays back the content in the theatre. Similar to a specialized computer like a Media PC or Tivo for the home.
Show Playlist
The method used to connect the Compositions together in the Theatre to create a complete show.
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12. Exhibition Show Play List
EXIBITION STORAGE
Trailer #3
Rating Card
SHOW PLAY LIST
Advertisement
Start
Composition #2
Composition #1
Composition #3
Trailer #2
Trailer #1
Composition #7
Composition #5
Composition #4
Composition #6
Feature
Logo
22 September 2018

13. Basic Security Watermarking / Fingerprinting Link Encryption Logging
The process of marking the content with unique marks in the picture and the sound to trace the origin of stolen content
Link Encryption
A connection from the server to the projector needs to be scrambled so that someone can not steal the content by tapping into this link.
Logging
The recording of events that take place while a show is played out in the auditorium. Provides audit information back to the studio.
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14. DCI Specification Details

15. DCI Major Issues Image resolution and Color
Audio bit depth and sample rates
Compression type and bit rate
Subtitle types and limitations
Packaging and metadata
Security and Key Management
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16. DCI Specification Picture Sound Subtitles WorkFlow and Reels
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG Alpha channel
WorkFlow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
22 September 2018

17. Picture DCDM Resolution 2048x1080 OR 4096x2160 Containers
Only active pixels are transported
24/48 frames per sec for 2k
Reel per Reel configuration
Academy “2 Pop” Leader
22 September 2018

18. DCI Requirements Image - Dynamics
Matt Cowan
Entertainment Technology Consultants

19. X’Y’Z’ Color Encoding for Digital Cinema Distribution
Glenn Kennel
IBC D-Cinema Update
September 11, 2005

20. Color Encoding CIE XYZ Color Primaries Gamma 1/2.6 Transfer Function
12 bits per channel
Metadata for downstream gamut mapping- describes color gamut that is used in the master
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21. Visible and XYZ Z X Y Visible colors Display Primaries Displayable
An x,y chart showing locations of XYZ primaries
Think of these primaries as RGB values, or perhaps “hyper RGB” values – extended outside visible range
Color gamut possible is defined by the triangle encompased by the 3 primary colors.
Look at example of RGB color gamut (DLP) compared to XYZ.
Real color is defined by linear combination of X,Y, and Z values
XYZ encoding
Space (triangle)
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22. Color Encoding Primaries
XYZ color primaries (1931 CIE standard)
Device independent, colorimetric representation
Encompasses full color gamut
Luminance isolated to one component (Y)
Encoding Primaries x y u’ v’ X
1.0000
0.0000
4.0000 Y
0.6000 Z
0.000
Note: x, y, u’ ,v’ refers to the chromaticity coordinates defined by the CIE.
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23. Color Encoding Linear Matrix
R’G’B’ color space of Reference Projector is converted to device-independent X’Y’Z’ color space of DCDM with a linear space matrix
2.6
2.6
[ ]
1/2.6
R’G’B’
RGB
XYZ
X’Y’Z’
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24. Encoding Transfer Function
Where:
CV is the resulting Code Value for a color component.
L is the luminance output in cd/m2
P is (extra headroom reserved for future white point changes to accommodate range from D55 to D65).
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25. Implications for Color Correctors
Color Correctors typically process signals as R’G’B’ code values
Gamma-corrected R’G’B’ video for television
Logarithmic R’G’B’ printing density for film
Color Correctors can also work with X’Y’Z’ data, but controls would need to be recalibrated.
The X’Y’Z’ color space transformation can be implemented in the output of the color corrector.
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26. Cinema Projector Transfer Function
P is cd/m2
(with headroom)
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27. Cinema Projector Linear Matrix
X’Y’Z’ color space of DCDM is converted to Projector (device specific) RGB color space with a linear matrix
2.6
2.6
[ ]
Light
Modulators
X’Y’Z’
XYZ
RGB
In this example, the decoding matrix is the inverse of the encoding matrix.
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28. Implications for Projectors
Digital Cinema Projector must have signal processing to convert device-independent X’Y’Z’ code values to its native RGB.
Linearize signal (apply gamma 2.6)
Apply a device-dependent linear matrix
Correct for non-linear modulator response (if necessary)
Calibrate for screen and port glass effects.
As wider gamut projectors are introduced, gamut mapping capability will be necessary for (today’s) smaller gamut projectors.
22 September 2018

29. Color Processing for Digital Intermediate for both film and digital cinema distribution

30. DI- Method 1
Use a 3D LUT in color corrector or external box to mimic film print stock, starting with Printing Density source images
1 - Color-corrected master is ready for film output (Printing Density)
2 - Render (“bake in”) the film LUT when outputting the DCDM; Encode color to X’Y’Z’
Mastering
Projector
R’G’B’
12 bits
Dual 292
DCDM
3D Print Film LUTs
(for film matching)
Color Encoding
To X’Y’Z’ 2
Color Corrections
Conforming
Scan Film or
Import Digital Images
Output to film
(Laser Film Recorder)
Film IN 1
DSM
RGB Printing Density
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31. DI- Method 2
Perform color corrections from source RGB Printing Density to color-corrected R’G’B’ DCDM.
1 - Color-corrected images are ready for color encoding to X’Y’Z’.
2 - Use an (inverse film) 3D LUT to convert from R’G’B’ DCDM to RGB Printing Density in a 2nd pass (for film output).
Mastering
Projector
DCDM
Color Encoding
To X’Y’Z’
Dual 292 1
Color-corrected
R’G’B’ DCDM
Color Corrections
Conforming 2
3D LUT to convert to
RGB Printing Density
Scan Film or
Import Digital Images
Film IN
DSM
RGB Printing Density
Output to film
(Laser Film Recorder)
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32. Creating Video Masters
Video displays have a smaller color gamut (CCIR 709)
Simple colorimetric conversion could result in clipping of out of gamut colors
Viewing conditions are also very different; pictures look different on a small display in a dim (10%) surround
In theory, a 3D LUT can be built to convert to CCIR 709 color gamut, preserving the look of the picture
Adjusting the transfer function for color appearance
Applying a hue-preserving “soft-clip” for out of gamut colors
A trim pass is still necessary to tune color aesthetics and frame (pan/scan) the picture for the 4:3 full-frame video version
22 September 2018

33. The Reference Projector
X’Y’Z’ encoding (as used here) is output-referred
Faithful color reproduction depends on careful calibration of the mastering projector and cinema projectors
The environment is also critical (screen quality, port glass and ambient light must be controlled)
The Mastering Projector must have the best available black level (sequential contrast)
Otherwise, the cinema projector may unveil unintended details or color errors in the blacks.
22 September 2018

34. X’Y’Z’ Conclusions and Next Steps
Robust, device-independent output-referred color encoding definition
Independent of display primaries and white point
Supports future improvements in color gamut and contrast ratio
DCI StEM test provided a proof of concept
Color transforms were independently verified by several companies
Next step is to test color matching across different projection technologies
Color correctors should implement R’G’B’ to X’Y’Z’ color conversion for DCDM output
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35. 22 September 2018

36. JPEG 2000 No temporal compression One tile Extracted 2k from 4k
Max bit rate 250Mb/sec - all formats
ICT required
9/7 inverse wavelet transfer function
Typical 2k 24 FPS movie: about 150GB, 4k 24 FPS Movie 300GB
22 September 2018

37. DCI Specification Picture Sound Subtitles WorkFlow and Reels
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG Alpha channel
WorkFlow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
1 hour in
22 September 2018

38. Sound DCDM 16 channels Uncompressed sound 48k/96k, 24bits/channel
Reference Level -20 dBFS
Broadcast WAV file format
Virtual tracks
Able to support multiple languages, commentary, audio headphone tracks
Reel per Reel configuration
“2 Pop” each reel for sync
22 September 2018

39. Channel Mapping AES Pair#/Ch# Channel # Label / Name Description 1/1 1
L/Left
Far left screen loudspeaker
1/2 2
R/Right
Far right screen loudspeaker
2/1 3
C/Center
Center screen loudspeaker
2/2 4
LFE/Screen
Screen Low Frequency Effects subwoofer loudspeakers
3/1 5
Ls/Left Surround
Left wall surround loudspeakers
3/2 6
Rs/Right Surround
Right wall surround loudspeakers
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40. 22 September 2018 Left (1) Center (3) Right (2) LFE (4)
L Vertical Front R
Speaker Placement Diagram
SCREEN
Left Center (7)
Right Center (8)
Left Surround (5)
Right Surround (6)
Center Surround
Top Center Surround
LFE-Rear
Screen
22 September 2018

41. DCI Specification Picture Sound Subtitles WorkFlow and Reels
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG Alpha channel
WorkFlow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
22 September 2018

42. Subtitle DCDM Defining subtitles not a simple task On Screen
Part of “movie” - Localization, translation
For hard-of-hearing
For foreign translation
Off Screen
Hard-of-hearing, alt language
22 September 2018

43. Supported Subtitles
Timed Text - rendering in the projector or server/media block or alternative display
Selectable fonts and installed fonts
Subpicture - PNG 32bit color alpha overlay
Bit rate limit 20Mb/sec
Bounded rectangles at image resolution
2K or 4K
Suggested “2 Pop” on spotting cassettes
Suggested “2 pop” subtitle for QC check
22 September 2018

44. DCI Specification Picture Sound Subtitles WorkFlow and Reels
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG 8bit Alpha channel
WorkFlow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
22 September 2018

45. Example Composition Playlist
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46. Packaging Issues Multiple A/B Reel Configuration Cue generation DCP QC
Similar to DI post production
Frame count list for downstream Packaging
Cue generation
FFOA First frame of action
FFOI First frame of Intermission (Optional)
LFOI Last frame of Intermission (Optional)
LFOA Last frame of Action
DCP QC
22 September 2018

47. Exhibition Show Play List
EXIBITION STORAGE
Trailer #3
Rating Card
SHOW PLAY LIST
Advertisement
Start
Composition #2
Composition #1
Composition #3
Trailer #2
Trailer #1
Composition #7
Composition #5
Composition #4
Composition #6
Feature
Logo
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48. Distribution Package
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49. 22 September 2018

50. DCI Specification Picture Sound Subtitles Workflow and Reels
12bit X’Y’Z’ color
2048x p/48p or
4096x p
JPEG2000 compression
Sound
16 channels max; 24bits deep; 48/96Ks/sec
NO COMPRESSION
Subtitles
Text rendering in system or
PNG Alpha channel
Workflow and Reels
Elements delivered as package or separately
Broken into “reels”
Playlists reconstruct playout in theater
Packaging (MXF)
Delivery of encrypted elements using MXF
Security / Encryption
Elements encrypted and keys delivered for playout
80 minutes
22 September 2018

51. Security Problem: Pirated Movies Solution: Security
Camcorder & Digital Theft
Solution: Security
Camcorder
Forensics/Fingerprinting marking
Digital Theft
Encryption & Key Management
And last let me touch upon another hot topic: security
The problem is piracy; plain and simple.
Piracy is so critical that without proper protection we won’t deliver content.
We all have heard what the piracy boogieman is saying - more piracy, less films.
And you know, “Just because you’re paranoid doesn’t mean their not out to get you”
Digital Cinema can not address the entire piracy problem - like DVD duplication- but the digital cinema format is designed to address what it can. Trust me, the studios are all working on the other parts of the piracy problem.
For digital cinema the issues are camcordering of movies and digital theft.
The format is designed to embed unobservable marks to track the source of piracy to help us all track down the leaks.
We also will deliver the content encrypted and protected. It makes no sense to deliver movies in the clear.
To delivery encrypted movies brings in Key Management - providing keys to unlock the content to let them play.
And they better play! Stating the obvious - movies that don’t play don’t make money.
Security can’t be used to change existing business relationship between exhibition and distribution. So the issue is really key management and use in the theater complex.
22 September 2018

52. Digital Cinema Workflow
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53. 22 September 2018

54. Media Block with Link Encryption
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55. Integrated Projector Media Block
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56. Theater Security System
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57. 22 September 2018

58. 22 September 2018

59. Post Issues Data model not HD model Over sampling for final DCDM
File based system
Over sampling for final DCDM
4096 or 2048 for finished product not OCN
New color management
DCDM Color Encoding is X’Y’Z’
Understand RGB to X’Y’Z’ matrix
Increased bit depth for pipeline
New Encryption and Key Management Issues
22 September 2018

60. Chief Technology Officer
Various DCI Issues
IBC
11 September 2005
Walt Ordway
Chief Technology Officer
(323)
22 September 2018

61. The DCI Specification
Version 1.0 of the DCI specification went on the DCI web site at noon 27 July 2005, after the press conference
By midnight 31 July, there were over 10,000 downloads
Web site is
You no longer need a password
Bound English copies will be available soon from Focal Press
French and Italian versions are also in work
22 September 2018

62. More Industry Goals Development of systems compliant with the DCI spec
Manufacturers should also focus on:
High reliability
Ease of use
Low maintenance
Acceptable system cost, or the business models don’t work
A beta test?
22 September 2018

63. System Compliance testing
Many companies have expressed an interest in doing system compliance testing
The studios would like to see one set of compliance test procedures, that anyone can use for system compliance testing
DCI is currently working with a company to develop these compliance test procedures
More information will follow as this moves forward
22 September 2018

64. Does DCI Go Away? All assets are being sold
Legal and historical documentation is being identified and put into storage
The office in Hollywood close on 30 September 2005
The DCI employees are done
22 September 2018

65. Does DCI really go away?
22 September 2018

66. The New DCI LLC DCI LLC will enter a new phase on 1 October 2005
DCI LLC will continue as a legal entity
BUT, no employees, no offices, no weekly meetings
Administrative and technical oversight will be split between 2 studios each year (Disney and Fox will take the first year)
The 6 member studios will convene meetings whenever required
They will continue to support and publish changes to the DCI spec if and when required
The DCI position on security issues will continue to be represented in SMPTE
22 September 2018

67. Standard Evaluation Material (StEM)
22 September 2018

68. The new StEM is here! “StEM the Sequel”
22 September 2018

69. DCI Test DCP’s DCI has created 5 DCP’s for initial system testing
There are 3 StEM DCP’s: 2K/24 fps, 2K/48 fps and 4K/24 fps
There are 2 Treasure Planet DCP’s: 2K/24 fps and 4K/48 fps
All 5 DCP’s use the X’Y’Z’ color space and 12 bit color
All are JPEG2000 compressed, AES encrypted and MXF packaged
The 3 StEM DCP’s have:
Howard Lukk and Alan Davieu talking heads on the image
Multi-channel audio
Subtitles
22 September 2018

70. DCI Test DCP’s
So far, 7 Digital Cinema system integrators have asked for various versions of the DCI DCPs
Doremi and Kodak have demonstrated to DCI that they can properly play out at least 4 of the 5 DCP’s
Note: The DCI DCP’s are not intended to test the Digital Rights Management part of a Digital Cinema security system as defined in the DCI specification
22 September 2018

71. DCI Test DCP’s
Companies who are ready to demonstrate the play out of DCI DCP’s can contact DCI for a copy of a test file
Walt Ordway
(323)
After 30 September, contact:
Howard Lukk
(818)
22 September 2018

72. Thank you
22 September 2018