Pub Date : 2024-01-01DOI: 10.5594/jmi.2024/idyq4827
Michael Dolan
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Pub Date : 2023-11-16DOI: 10.5594/JMI.2023.3325513
Bill Redmann;David Touze;Frédéric Plissonneau;Alan Stein;Guy Ducos
For content producers who need to make drastic choices to allocate limited contrast and colors in standard dynamic range (SDR), high dynamic range (HDR) offers the opportunity to show more. This means greater freedom and flexibility for their storytelling. However, future-proof HDR content presents its own challenges, for example, the wide variation in HDR display capabilities and the desire to have any production, HDR or SDR, play optimally on any display, HDR or SDR. The typical solution to this issue is tone mapping, whether a tone compression to map from HDR to a lower HDR or SDR luminance, or tone expansion to map from SDR or HDR to a higher HDR luminance. Various techniques of tone mapping, including hybrid log-gamma (HLG), static look-up tables (LUTs) and dynamic metadata, are considered, and the relative advantages and performance are analyzed. A proposed solution that has been introduced in practice, “Advanced HDR by Technicolor,” is described.
{"title":"HDR Challenges and Solutions","authors":"Bill Redmann;David Touze;Frédéric Plissonneau;Alan Stein;Guy Ducos","doi":"10.5594/JMI.2023.3325513","DOIUrl":"https://doi.org/10.5594/JMI.2023.3325513","url":null,"abstract":"For content producers who need to make drastic choices to allocate limited contrast and colors in standard dynamic range (SDR), high dynamic range (HDR) offers the opportunity to show more. This means greater freedom and flexibility for their storytelling. However, future-proof HDR content presents its own challenges, for example, the wide variation in HDR display capabilities and the desire to have any production, HDR or SDR, play optimally on any display, HDR or SDR. The typical solution to this issue is tone mapping, whether a tone compression to map from HDR to a lower HDR or SDR luminance, or tone expansion to map from SDR or HDR to a higher HDR luminance. Various techniques of tone mapping, including hybrid log-gamma (HLG), static look-up tables (LUTs) and dynamic metadata, are considered, and the relative advantages and performance are analyzed. A proposed solution that has been introduced in practice, “Advanced HDR by Technicolor,” is described.","PeriodicalId":49512,"journal":{"name":"SMPTE Motion Imaging Journal","volume":"132 10","pages":"27-42"},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138138413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-16DOI: 10.5594/JMI.2023.3278792
Tim Borer
In recent years, we have seen immense improvement in video quality culminating in today’s ultrahigh-definition with high dynamic range and wide color gamut. Viewers can no longer benefit from increases in resolution in flat, 2D images; they simply cannot see any more detail. Yet, both consumers and producers are looking for improved displays, including 3D displays. There have been repeated attempts to introduce stereoscopic 3D over many decades. These have either failed completely or lacked conspicuous success. Yet, people still seem fascinated by true 3D displays, such as laser-generated holograms. If high-quality true 3D displays were physically and commercially viable, it would be a transformative technology set to replace the billions of 2D displays currently in use. The consequences for the industry, both hardware and content production, would be enormous. This article seeks to address the potential for light field displays to become the next, and ultimate, display technology. In so doing, it discusses the underlying principles of light field displays and contrasts them to stereoscopic 3D with its many limitations. Producing high-quality light field displays is a very significant challenge. A huge amount of information must be conveyed to viewers so that they can see high-resolution images at different depths and from different perspectives. Light field displays are based on underlying 2D displays. Foremost among the technical challenges is the huge number of pixels required. While early commercial light field displays are already available, i they have limited spatial resolution and a very limited depth of field. The experience of viewing is something like viewing a puppet theater. Unfortunately, their conventional, century-old approach does not scale to large depths of field. This article describes how a light field display’s depth of field depends on the characteristics of the display. Based on conventional 2D sampling theory, it gives the absolute resolution of the display (that is the smallest object, say mm, that can be resolved). But viewers actually perceive angular resolution, so the analysis is adjusted accordingly. The analysis reveals the enormous number of pixels required for a large depth of field and, consequently, why existing approaches are untenable. By analyzing the image formation process from the viewer’s perspective, the article shows that many fewer pixels are required to achieve a large depth of field. Even so, more resolution is required. It is shown how this can be provided by rendering images over multiple frames, benefiting from the higher frame rates now becoming available. The analyses are complemented by an example, based on a seven-year-old display resolution, to demonstrate the viability of this approach. Considering current commercial, and near future, displays, the approach scales to larger, higher-resolution displays. Light field displays were not viable a few years ago. However, advancement
{"title":"Why Holographic 3D Light Field Displays are Impossible, and How to Build One Anyway","authors":"Tim Borer","doi":"10.5594/JMI.2023.3278792","DOIUrl":"https://doi.org/10.5594/JMI.2023.3278792","url":null,"abstract":"In recent years, we have seen immense improvement in video quality culminating in today’s ultrahigh-definition with high dynamic range and wide color gamut. Viewers can no longer benefit from increases in resolution in flat, 2D images; they simply cannot see any more detail. Yet, both consumers and producers are looking for improved displays, including 3D displays. There have been repeated attempts to introduce stereoscopic 3D over many decades. These have either failed completely or lacked conspicuous success. Yet, people still seem fascinated by true 3D displays, such as laser-generated holograms. If high-quality true 3D displays were physically and commercially viable, it would be a transformative technology set to replace the billions of 2D displays currently in use. The consequences for the industry, both hardware and content production, would be enormous. This article seeks to address the potential for light field displays to become the next, and ultimate, display technology. In so doing, it discusses the underlying principles of light field displays and contrasts them to stereoscopic 3D with its many limitations. Producing high-quality light field displays is a very significant challenge. A huge amount of information must be conveyed to viewers so that they can see high-resolution images at different depths and from different perspectives. Light field displays are based on underlying 2D displays. Foremost among the technical challenges is the huge number of pixels required. While early commercial light field displays are already available, \u0000<xref>i</xref>\u0000 they have limited spatial resolution and a very limited depth of field. The experience of viewing is something like viewing a puppet theater. Unfortunately, their conventional, century-old approach does not scale to large depths of field. This article describes how a light field display’s depth of field depends on the characteristics of the display. Based on conventional 2D sampling theory, it gives the absolute resolution of the display (that is the smallest object, say mm, that can be resolved). But viewers actually perceive angular resolution, so the analysis is adjusted accordingly. The analysis reveals the enormous number of pixels required for a large depth of field and, consequently, why existing approaches are untenable. By analyzing the image formation process from the viewer’s perspective, the article shows that many fewer pixels are required to achieve a large depth of field. Even so, more resolution is required. It is shown how this can be provided by rendering images over multiple frames, benefiting from the higher frame rates now becoming available. The analyses are complemented by an example, based on a seven-year-old display resolution, to demonstrate the viability of this approach. Considering current commercial, and near future, displays, the approach scales to larger, higher-resolution displays. Light field displays were not viable a few years ago. However, advancement","PeriodicalId":49512,"journal":{"name":"SMPTE Motion Imaging Journal","volume":"132 10","pages":"13-26"},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138138391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-16DOI: 10.5594/JMI.2023.3329092
David Grindle
During the SMPTE Awards Gala on Thursday, 19 October, in Hollywood, CA, SMPTE President Renard Jenkins announced the Peter Wharton Scholarship at SMPTE. This scholarship began with a pledge of ${$}$ 25,000 from TAG Video Systems and will carry on the name and legacy of one of SMPTE’s most ardent supporters. Peter’s influence on the Society and the industry was incredible. He was passionate about media engineering and SMPTE, and it is an honor to help establish this fund to grow and impact people for years to come.
{"title":"Enhancing Member Benefits and Fostering Industry Growth","authors":"David Grindle","doi":"10.5594/JMI.2023.3329092","DOIUrl":"https://doi.org/10.5594/JMI.2023.3329092","url":null,"abstract":"<fig> <graphic> </fig>\u0000 During the SMPTE Awards Gala on Thursday, 19 October, in Hollywood, CA, SMPTE President Renard Jenkins announced the Peter Wharton Scholarship at SMPTE. This scholarship began with a pledge of \u0000<inline-formula> <tex-math>${$}$ </tex-math></inline-formula>\u000025,000 from TAG Video Systems and will carry on the name and legacy of one of SMPTE’s most ardent supporters. Peter’s influence on the Society and the industry was incredible. He was passionate about media engineering and SMPTE, and it is an honor to help establish this fund to grow and impact people for years to come.","PeriodicalId":49512,"journal":{"name":"SMPTE Motion Imaging Journal","volume":"132 10","pages":"5-5"},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=10319890","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138138411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-16DOI: 10.5594/JMI.2023.3331173
{"title":"SMPTE Power of Color","authors":"","doi":"10.5594/JMI.2023.3331173","DOIUrl":"https://doi.org/10.5594/JMI.2023.3331173","url":null,"abstract":"","PeriodicalId":49512,"journal":{"name":"SMPTE Motion Imaging Journal","volume":"132 10","pages":"50-50"},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=10319936","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138138418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-16DOI: 10.5594/JMI.2023.3325858
Alun Fryer;Amanda Holtstrom
The production industry is experiencing mounting pressure to deliver more content on more platforms, leading producers to deliver on-demand and over-the-top (OTT) media using software- and cloud-based solutions. The growth in both volume of content and the use of Internet Protocol (IP)-based delivery methods comes at an environmental cost, in terms of energy consumption and physical waste. The hyperconverged design approach combines production capabilities into a single product and offers engineers and designers immediate ways to reduce a production’s environmental impact while simultaneously simplifying its deployment, management, and operation. Throughout the product lifecycle, from design to disposition, hyperconverged products can support the media and entertainment industry in achieving sustainability targets, which protect and conserve the environment.
{"title":"Hyperconverged Design: Reducing the Environmental Impact of Production Technologies Throughout the Product Lifecycle","authors":"Alun Fryer;Amanda Holtstrom","doi":"10.5594/JMI.2023.3325858","DOIUrl":"https://doi.org/10.5594/JMI.2023.3325858","url":null,"abstract":"The production industry is experiencing mounting pressure to deliver more content on more platforms, leading producers to deliver on-demand and over-the-top (OTT) media using software- and cloud-based solutions. The growth in both volume of content and the use of Internet Protocol (IP)-based delivery methods comes at an environmental cost, in terms of energy consumption and physical waste. The hyperconverged design approach combines production capabilities into a single product and offers engineers and designers immediate ways to reduce a production’s environmental impact while simultaneously simplifying its deployment, management, and operation. Throughout the product lifecycle, from design to disposition, hyperconverged products can support the media and entertainment industry in achieving sustainability targets, which protect and conserve the environment.","PeriodicalId":49512,"journal":{"name":"SMPTE Motion Imaging Journal","volume":"132 10","pages":"43-48"},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138138390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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