1. Why 4K? ghj / 2009.03g1 Why 4K? George Joblove Chris Cookson Sony Pictures Technologies MAY ADD A SLIDE OR TWO AT THE START

2. Why 4K? ghj / 2009.03g2 Motion-Picture Distribution Studios, Distributors Master (Intermediate) Theaters Release prints

3. Why 4K? ghj / 2009.03g3 Why 4K?  Human visual acuity  Modern cinema theater layout  Maximizing quality of our work on the screen  Maximizing quality of what goes into the vault for future use

4. Why 4K? ghj / 2009.03g4 Human Visual Acuity 360°

5. Why 4K? ghj / 2009.03g5 Human Visual Acuity 360° 1°

6. Why 4K? ghj / 2009.03g6 360° 1° 1′1° Human Visual Acuity Magnification

7. Why 4K? ghj / 2009.03g7 Human Visual Acuity  ‘Normal’ (‘20/20’ [US/UK], ‘6/6’ [EU], ‘1.5/1.5’ [JP] ) human vision resolves 30 cycles (line-pairs) per degree, or one line per arcminute  This corresponds to about: ■ 486 lines (NTSC)  576 lines (PAL) at 7 picture-heights at 6 picture-heights ■ 1080 lines (HDTV or 2K DCI 1.85:1) at 3 picture-heights ■ 2160 lines (4K DCI 1.85:1) at 1½ picture-heights

8. Why 4K? ghj / 2009.03g8 Modern Cinema Design, Stadium Seating

9. Why 4K? ghj / 2009.03g9 Modern Cinema Design, Stadium Seating PHOTO: BAM ROSE CINEMAS

10. Why 4K? ghj / 2009.03g10 Today’s Demonstration  Images ■ Shot on still cameras –Sony  900 [6K  4K Bayer] and digital Hasselblad [7K  5K Bayer] ■ Gamma-converted to linear floating-point ■ Cropped to 1.85:1 and down-res’ed to DCI 4K (3996  2160) ■ Color-space- and gamma-converted from sRGB to DCI X'Y'Z' ■ Converted to 16-bit integer per channel, saved in TIFF format ■ Created left/right mirrored image by pixel swapping ■ Created DCI package (4K) from each still image and mirror

11. Why 4K? ghj / 2009.03g11 Today’s Demonstration  Projection Screen: 20 ft (6 m) wide, matte 1.0, non-perforated Left-side projection: 2KRight-side projection: 4K4K DCP Doremi DCP2000Sony LMT-300 Christie CP2000-ZX DLPSony SRX-R320 SXRD 2048  10804096  2160 ~14.6 ftL = ~50 cd/m²