Digital Cinema Initiatives Research Articles

Charge balance in OLEDs: Optimization of hole injection layer using novel p‐dopants

AbstractCharge balance is one of the most important factors for realizing high performance organic light emitting devices (OLEDs). In this work, we provide a novel strategy to improve the charge balance in OLEDs by optimizing the hole injection layer (HIL) as well as the electron transporting layer (ETL) and thereby controlling the charge carrier supplies in the device. First, we develop a p‐dopant material (PD02), with a lowest unoccupied molecular orbit (LUMO) of −4.63 eV, much shallower than that of the commercial material (PD01) of which the LUMO is −5.04 eV. Nevertheless, this enables us to modulate the supply of holes to the emissive layer through tuning doping concentration. We demonstrate that device performances are significantly improved by employing such a scheme. With a 23% molar doping of PD02, a bottom emission red OLED achieves an external quantum efficiency (EQE) of over 30%, an operating voltage of 3.4 V and a LT95 ~15,000 h at 10 mA/cm2, with a Digital Cinema Initiative P3 (DCI‐P3) chromaticity of CIE (X, Y) = (0.68, 0.32). Moreover, the efficiency roll‐off is suppressed up till ~3500 cd/m2, a desirable feature in display applications. The lateral conductivity of by using such HIL is also found to be much lower than that of PD01, resulting in reduced crosstalk among RGB pixels. Next, a new electron transporting material (ETM‐02) with a deep LUMO of −2.86 eV is also introduced to further optimize the charge balance. Although devices with ETM‐02 shows lower voltage and higher EQE, lifetime is compromised. In order to improve lifetime, additional fine tuning of the charge balance is essential. Finally, a second p‐dopant PD03 with a LUMO of −4.91 eV is added to the HIL to further extend the modulation flexibility in the hole injection. A double‐layer HIL consisting of 8 nm of HTM:16% PD02 and 2 nm of HTM:3% PD03, where the former is in contact with anode, is adopted in the device structure. The bottom emission deep red device achieve EQE over 30%, an operating voltage of 3.2 V and an improved LT95 ~13,000 h at 10 mA/cm2 with a BT.2020 range chromaticity of CIE (X, Y) = (0.701, 0.299). In the double HIL configuration, the introduction of PD03 provides one more parameter for tuning and therefore improves the overall device performances.

High performance red and green phosphorescent emitters suitable for the BT.2020 color gamut

AbstractIn this work, we investigated the potential for phosphorescent emitters to achieve the BT.2020 color standard in displays, where the CIE coordinates for red and green are (0.709, 0.292) and (0.170, 0.797), respectively. Optical simulations were performed for both green and red top emission organic light emitting devices (OLEDs). For the green emitter, it is possible to reach (0.170, 0.785) using a spectrum with a peak wavelength (λmax) at 526 nm and a full width at half maximum (FWHM) less than 30 nm. For the red emitter, in order to achieve (0.708, 0.292) while maintaining a high current efficiency (CE), it is important to decrease the FWHM instead of red‐shifting the spectrum. Following the guidance of these simulation results, we designed and synthesized novel deep green (DGD) and deep red phosphorescent (DRD‐II) emitters. The photoluminescent (PL) spectrum of DGD shows an FWHM of 30 nm and a λmax of 523 nm. A top‐emission green OLED built using DGD reached a CE of 171 cd/A at an operating voltage of 3.3 V and a lifetime of 95% of initial brightness (LT95) > 1300 h at 10 mA/cm2 with a CIE (x, y) = (0.170, 0.777). This is, to our knowledge, the best device performance ever reported for a green phosphorescent OLED at this CIE y. The PL spectrum of DRD‐II has a λmax of 630 nm with an FWHM of 30 nm. A top‐emission red OLED built with DRD‐II achieved a CE of 59 cd/A, an operating voltage of 3.2 V and an LT95 over 20,000 h at a drive current of 10 mA/cm2 with a CIE (x, y) = (0.708, 0.292). We also studied the angular dependence of the above devices and found they were comparable to devices with commercial emitters for the Digital Cinema Initiative P3 (DCI‐P3) standard that had a wider FWHM. Combining these green and red emitters with a commercial blue OLED at (0.131, 0.046), we are able to cover 97% of the BT.2020 color gamut. The results using DGD and DRD‐II suggest that they have great potential to satisfy BT.2020 in an organic phosphorescent system.

P‐58: DCI Quality Specifications for Emissive LED Screens

The Digital Cinema Initiative (DCI) has established specifications for a theater system that creates a common shell where regardless of the technology (Projector, film, Emissive Screens) the experience experimented by the viewer is the closest to the one intended to be transmitted by the director.The theater system is built of a few components, one of them is the player or Media Block and the second is the LED emissive Screen. The main function of the Media Block is to provide a secure system environment within it performs content essence decryption. In addition to this, the Media Block shall contain the Security Manager, Image, Audio and Subtitle processing capabilities along with associated forensic markers. The function of the LED screen is providing the proper color and luminance values to provide the right environment where the viewer can have the best experience of the content as it was a real‐life environment scene.The quality of the system is based on the video performance. The Video performance can come from many parameters like brightness, contrast, color space, color consistency, refresh rate, and bit depth. For DCI, 12bits is the input bit depth, while the processing bit depth is much higher to reproduce the video on the right color space (specified as DCI‐P3) and providing the right grayscale performance values for what our eye is most sensitive area (scotopic vision) and at the same time for getting color (photopic vision). This experience is what brings a sensation that it is only achieved in theaters.

An Investigation of the Value of Wide Color Gamut in Motion Pictures

<italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Thanks to the advancements in cinema and display technologies wider color gamuts are now possible. These technologies can support and reproduce highly saturated color content. Bear in mind, the ability to produce colors with an extremely high chroma component is strictly a capability of the technology and not a necessity that the image content must follow. In short, the decision to utilize the expanded gamut available in advanced cinema technologies is at the discretion of the creative forces behind the project. There are a number of different factors that can contribute to the creative color decisions made for motion pictures, with the primary factor being the esthetic nature of the content produced. Through creative-preference assessments of saturation adjustments in various image contents, the value of the expanded color gamut in motion picture mastering was assessed. Three images of comparable chroma histograms were utilized in the study to feature human skin tones, animated characters, and natural scenery, respectively. Upon being adjusted, each image was rendered with color content outside the boundaries of the Digital Cinema Initiatives (DCI)-P3 gamut. A two-alternative-forced-choice psychophysical study was conducted to estimate observer preference of the saturation levels in each image. From the observers’ selections, the reaction to the expanded image saturation in the three images was plotted and assessed for statistical significance. Through this study, it was found that there is a preference to incorporate colors exclusive to wider color gamuts that extend past the boundaries of International Telecommunication Union-Radiocommunication (ITU-R) Recommendation BT.709 and DCI-P3. It was also confirmed that the medium in which the content was generated influences the level of saturation preferred. Overall, this research provides a look into how technical capability and artistic vision can be connected</i> .

Progress in Lens and Cameras: 2010–2020

The decade 2010–2020 saw fast-paced developments in professional lenses and cameras—moving on the fronts of both broadcast television production and digital cinematography. The long-established 2/3-in. image format made a surprisingly smooth transition from two decades of high-definition television (HDTV) to 4K ultrahigh definition (UHD)—although, behind the scenes, this posed significant challenges to both lens and image sensor developments. The 2/3-in. B4 lens–camera mount standard remained a foundation for this transition. The decade bore witness to extraordinary international standardization activities that produced the parameter values for 4K UHD and 8K UHD for production and international program exchange—closely following with allied standards on high dynamic range (HDR) and wide color gamut (WCG). The current hesitancy in the U.S. to inaugurate 4K UHD delivery services propelled camera manufacturers to introduce broadcast television cameras that are multiformat—switchable between HD and UHD and between 2K and 4K digital cinema initiative (DCI)—and also multipurpose in being able to switch between HD colorimetry and WCG, and between HDR and standard dynamic range (SDR). Optical manufacturers applied major resources into developing 2/3-in. 4K broadcast television lenses. Meanwhile, amidst this uncertainty, 8K UHD broadcasting became a major agenda in some Asian regions, and the attendant developments in lenses and cameras significantly contributed to technological advances in the parallel 4K systems. The year 2010 saw the transition from the first generation HD/2K Super 35-mm digital cinematography lenses and cameras to 4K acquisition systems. New international manufacturers arrived in both arenas, and vigorous competitive activities escalated the pace of their respective technological developments. Within this decade, the full promise of HDR and WCG became evident for moviemaking and episodic television production. Within this same time span, the extraordinary emergence of the over-the-top (OTT) tech giants into the world of content creation, and international distribution, soon witnessed an upsurge in both the quantity of high-end scripted content and high expectations in quality .

P‐109: DCI Component Specifications for Emissive (LED) Screens

The Digital Cinema Initiative (DCI) has established specifications for a theater system that creates a common shell where regardless of the technology (projector, film, and now coming soon emissive screens) the experience experimented by the viewer is the closest to the one intended to be transmitted by the director. We will focus on this paper on the emissive screens.The theater system is composed of two major components, one is the player or Media Block and the second is the LED Screen. The main function of the Media Block is to provide a secure system environment within performing content essence decryption. In addition to this, the Media Block shall contain a security manager block, image decoding, audio processing and subtitle processing capabilities along with associated forensic markers. The function of the LED screen is to emit the proper chroma and luminance values providing the right environment where the viewer can have the best experience watching the content as it was a real life environment scene.

Predicting HDR Cinema Requirements from HDR Home Master Statistics

The high-dynamic-range (HDR) home video format launched several years ago has been adopted by the industry such that HDR Home Masters are created for most new release titles and released for home video distribution using ultrahigh-definition Blu-ray and digital formats. Mastering titles in HDR Cinema is the next logical evolution toward higher quality content and is thus greatly anticipated. However, mastering for HDR Cinema is still experimental due to the wide variety of potential HDR Cinema display technologies and their unique dynamic range characteristics. Determining the required dynamic range for HDR Cinema Masters is thus of great interest. In this paper, we propose an estimation of two properties of the dynamic range required for HDR Cinema Masters based on two different data sets. The first data set corresponds to the dynamic range statistics and cumulative distribution function of 41 Warner Bros. HDR Home Masters. Analyzing this data set indicates that the maximum light level of a frame (the peak luminance value) is directly related Average Light Level (FALL). In other words, there is a maximum contrast between the intensity of the highlights in an image and the average intensity of the image. The second data set is composed of matching mastered grades for standard dynamic range (SDR) cinema (Digital Cinema Initiative), Enhanced Dynamic Range Cinema (Dolby Cinema theatrical release), and HDR Home formats. Paired matching of content is useful to derive a translation between grades. By performing a cross-analysis between SDR and Enhanced Dynamic Range (EDR) Cinema content, we estimate a trend on the evolution of the FALL statistic when a higher dynamic range is provided. A second cross-analysis between HDR Home and EDR Cinema characterize the translation of midtones between small screens with surround illumination to big screens in a dark-viewing environment. Using the different analysis, we predict two optimized properties of the dynamic range needed to represent most future HDR Cinema mastered content.

Understanding RGB Color Spaces for Monitors, Projectors, and Televisions

AbstractColor imaging has many exciting new advances related to gamut, luminance, color spaces, quantum dots, and high dynamic range (HDR). In this short primer—the first of a two‐part series—we examine three color‐space specifications: Recommendation (Rec.) 709, Digital Cinema Initiatives (DCI)‐P3, and Rec. 2020.

Ultra-high-image-density large-size organic light-emitting devices based on In-Ga-Zn-O thin-film transistors with a coplanar structure.

Drain currents as functions of the gate voltages for the thin-film transistors (TFTs) showed that their output currents had slight differential variations in the saturation region just as the output currents of the etch stopper TFTs did. The maximum difference in the threshold voltages for the In-Ga-Zn-O (a-IGZO) TFTs was as small as approximately 0.57 V. The color gamut of organic light-emitting devices (OLEDs) embedded with TFTs with a coplanar structure satisfied the digital cinema initiatives of 99%. Furthermore, the image density of large-size OLEDs embedded with TFTs with a coplanar structure was significantly enhanced in comparison with that of OLEDs embedded with conventional TFTs.

Evaluation of Color Pixel Representations for High Dynamic Range Digital Cinema

In 2005, the Digital Cinema Initiative (DCI) standardized a color pixel representation to ensure consistent interoperability between distributors and cinema theaters. To accurately represent the dynamic range and color gamut of both scanned film and digital, a 12-bit quantization of the XYZ color space using a gamma transfer function (TF) of 2.6 with a peak luminance of 52.37 cd/ <inline-formula xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink"> <tex-math notation="LaTeX">$\text{m}^{2}$ </tex-math></inline-formula> was agreed upon. Such a selection was motivated by the need to be future-proof, device-independent, and cost-effective. This representation has been used for more than ten years with success and has been adopted throughout the digital cinema pipeline. However, several new display technologies have been proposed to increase the dynamic range of cinema display systems beyond the capabilities of the standard representation, both in bright and dark levels. Thus, to address these extra capabilities, alternative representations capable of covering larger color volumes are required. In this paper, we propose a framework to evaluate candidate color pixel representations using three characteristics: color volume, sampling accuracy, and coding efficiency. Each TF is evaluated and compared to the current DCI standard using the proposed framework. Results show a small reduction in quality is to be expected by simply updating the peak luminance up to 1000 cd/ <inline-formula xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink"> <tex-math notation="LaTeX">$\text{m}^{2}$ </tex-math></inline-formula> . Further results also indicate that this reduction in quality can be compensated by modifying the color space of the pixel representation. <disp-quote xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink"> In this paper, we propose a framework to evaluate candidate color pixel representations using three characteristics: color volume, sampling accuracy, and coding efficiency. </disp-quote>

El estándar DCI en las filmotecas. El proceso de transición al sistema digital en la actividad filmotecaria contemporánea (2010-2014)

This article sets out the current state of the shift towards a new digital paradigm in the world of cinema with the implementation of the DCI system (Digital Cinema Initiatives) as the international standard of cinema production, distribution and exhibition. The article also analyses the parallels between this agreement for standardization, driven by the major film studios in 2002, and the agreements made by these same companies almost a hundred years earlier, in the middle of the second decade of the last century. In addition, the article presents how film archives are experiencing this digital transition and how they have accepted the normalization offered by the DCI as the standard for film conservation and exhibition.

Immersive Audio Standards Move Forward

Cinema sound formats were unshackled by digital audio technology. This led to a wave of immersive sound system developments, each with its own incompatible audio and digital cinema package (DCP) file formats. Moviemakers were keen to use the new formats to take advantage of the expanded sound presentation capabilities but found themselves mixing ever more versions of the same title, as no single format covered every theater’s situation. Digital Cinema Initiatives (DCI), LLC and the National Association of Theater Owners (NATO), representing studios and exhibitors respectively, have each expressed a strong desire for a common, standardized method for delivering audio to cinemas that have expanded beyond the standardized 5.1 and 7.1 formats. NATO, in particular, expressed a desire for a solution to come to market as soon as possible to avoid the uncertainty represented by separate, incompatible, proprietary formats. The cinema industry looked to SMPTE to find a way to deliver immersive soundtracks in a common way such that they could be played in any immersive cinema system.

Color Management for Wide-Color-Gamut UHDTV Production

Ultrahigh-definition television (UHDTV) is a wide-color-gamut system, as standardized in Rec. ITU-R BT. 2020 and SMPTE ST 2036-1, that covers most real object colors and encompasses the gamuts of high-definition television (HDTV), Adobe RGB, and Digital Cinema Initiative Primary 3 (DCI-P3). The development of wide-gamut displays and high-quality gamut mapping is a major challenge in the workflow of UHDTV production today. While monochromatic light sources, such as lasers, are ideal for UHDTV wide-gamut displays, wide-gamut liquid crystal displays with nonmonochromatic backlight sources, such as quantum dot light-emitting diodes, may well be used from the viewpoint of both cost and performance. Furthermore, a high-quality gamut mapping algorithm between UHDTV and HDTV for live broadcast production is essential. This paper offers solutions to these challenges.

Implementation of Digital Cinema Mastering System Supporting Multiple Encoding and Wrapping Servers

Digital Cinema Initiatives, LLC (DCI) has established DCI Digital Cinema System Specification (DCSS) which is intended to promote the widespread deployment of digital cinema. We propose a distributed mastering system of digital cinema. It can simultaneously encode Digital Cinema Distribution Master (DCDM) images into JPEG2000 images on remote servers and produce a Digital Cinema Package (DCP) and Key Delivery Message (KDM) that can be satisfied to DCSS. The distributed mastering system covers the packaging process of DCP for digital cinema content and the generating and issuing process of KDM for the DCP.

Comparative Study on Required Bit Depth of Gamma Quantization for Digital Cinema Using Contrast and Color Difference Sensitivities

A specification for digital cinema systems which deal with movies digitally from production to deliv- ery and projection on the screens is recommended by DCI (Digital Cinema Initiative), and systems based on this specification have been developed and installed in theaters. The parameters of the sys- tems that play an important role in determining image quality include image resolution, quantization bit depth, color space, gamma characteristics, and data compression methods. This paper compara- tively discusses a relation between required bit depth and gamma quantization using both of a human visual system for grayscale images and a color difference model for color images. The required bit depth obtained from a contrast sensitivity function against grayscale images monotonically decreases as the gamma value increases, while it has a minimum value when the gamma is 2.9 to 3.0 from CIE 1976 L*a*b* color difference model. It is also shown that the bit depth derived from the contrast sen- sitivity function is one bit greater than that derived from the L*a*b* color difference model at the gamma value of 2.9.

Cinema on the edge: Improvised film exhibition and digital projection in rural Australia

ABSTRACTDigital projection technologies are changing the nature of movie exhibition on a global scale. Commercial cinemas are now rapidly embracing the high-end (and high-cost) Digital Cinema Initiatives (DCI) Standard for projection in place of traditional 35mm film. This new equipment is helping to give exhibitors greater control over their programming schedules, lowering operating costs and enhancing the quality of the film presentation for audiences. The large capital cost of DCI equipment has meant that small, marginal cinemas have largely been excluded from this aspect of the digital revolution. However, they are not being left behind completely. The development of improved, low-cost systems for projecting films on DVD and Blu-ray disc has boosted the viability and flexibility of screenings in remote and isolated locations. This article focuses on the use of DVD projection in rural areas of Australia and examines some of the unique types of cinema enterprises that this technology is helping to support. More broadly, this article questions the veracity of claims regarding the demise of the cinema as a socially and culturally relevant place for viewing films.

Moving with the times: D-cinema and DCP festivals

ABSTRACTThe digitization of film is significantly changing how films are produced, circulated and watched. Over the last five years, the area of public film exhibition in particular has undergone dramatic shifts, with the number of digital screens operating in Australia mushrooming from less than 2 per cent of the country's total screens in 2006, to approximately 35 per cent in 2011. While the digitization of the exhibition process has been heralded as a democratizing force that will enable unrivalled access to a broad range of independent and marginal films, this scenario has yet to eventuate. The expense of installing digital cinema equipment, along with the related hurdles created by Virtual Print Free agreements and the introduction of the Digital Cinema Initiatives' standards for digital cinema operation, have worked to limit rather than expand opportunities for non-commercial film exhibition. This article offers some critical reflections on the positions and assumptions surrounding the widespread implementation of D-cinema. Interrogating first the impact that D-cinema has had on the ability of cinema operators to screen a wide variety of non-mainstream and independent films, this article then opens up debate on the role film festivals play in providing access to these types of films as well as the impact that D-cinema technologies will have on the festivals themselves.

비선형 편집기반의 입체영상 제작 흐름에 관한 연구

디지털 마스터 배급 기반의 디지털시네마는 입체영화를 중심으로 발전하고 있다. 2004년에 발표된 Digital Cinema Initiatives (DCI)규격 1.0은 이미 입체영화 상영을 고려한 표준으로 발표되었다. 현재는 Society of Motion Picture and Television Engineers(SMPTE)에서 가정에서 상영되는 입체 콘텐츠 규격을 정의하기 위한 특별위원회가 구성되었다. 현재 헐리우드 중심의 상업용 입체 디지털시네마는 대부분 컴퓨터그래픽 기반의 애니메이션이 주류를 형성하고 있다. 그러나 영화적인 특성을 고려할 때 실사 영상을 획득, 편집후 상영하는 입체 디지털시네마 제작이 반드시 필요하다. 본 논문은 먼저 입체영상 제작흐름 중 NLE (non linear editing) 시스템에서 입체검안이 가능함을 증명한다. 그리고 입체 검안을 응용해 새로운 입체 디지털시네마 제작흐름을 제안하고자 한다. 실험결과 120Hz 기반의 3D Ready TV에서 콘텐츠 편집은 장애요소가 많았지만, Line Interleave방식의 모니터와 원평광 안경을 이용한 국산 입체모니터에서는 대부분 안정적인 편집이 가능하였다. Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

Saving Film Technology in Museums Before It's Too Late

In July 2005, the Digital Cinema Initiative (DCI), a group of five Hollywood studios, issued proposals for digital cinema projection as a replacement for print film projection in cinemas. Currently (July 2007), the Us society of Motion Picture and television engineers standards committee is considering the DCI proposal as the basis for a U.s. standard, the precursor to an international standard.

Efficient JPEG 2000 VBR Compression with True Constant Perceived Quality

This paper describes a novel JPEG 2000 variable bit rate (VBR) encoding system for digital cinema that uses visually lossless viewing distance as the image quality metric to provide true constant perceived quality. In this approach, the wavelet coefficients are quantized using a human visual system model so that there are no detectable compression errors when a movie is viewed at the specified viewing distance (or at any greater distance). The compressed codestream includes only the minimum information that is needed to ensure visually lossless quality, so coding efficiency is high. Compression times are also significantly reduced, as compared to typical VBR systems, which results in a more efficient workflow. These benefits are achieved while maintaining full compatibility with the Digital Cinema Initiatives (DCI) compression specifications.