Digital Chromatics 123

2K

dc_admin — Sat, 13 Apr 2013 17:10:42 +0000

2K- An image with 2048 pixels horizontal resolution. In the Digital Cinema Initiatives (DCI) standard, an image container of 2048 x 1080. This is closely related to 1080p high definition (1920 x 1080). The Sony F55, F5 and FS700 cameras can output a 2K image without windowing, which means no loss in angle of view versus the 4K image.

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4K

dc_admin — Sat, 23 Mar 2013 00:13:27 +0000

4K – Currently the most popular of the higher resolution in digital cinematography and film. The term 4K refers to the horizontal resolution of these formats, which are all on the order of 4,000 pixels. Historically many aspects of handling 4K have been problematical – not least due to the large data rate (over 1.1 GB/s) and the amount of data produced – about 4 TB/h. However modern technologies applied all the way from scene to screen have now made 4K far more readily accessible. For some time, 4K has been the format of choice for some complex effects shots where it was felt these needed extra quality (over 2K) to still look good after all the necessary processes are completed, specially where the finished shots are inter-cut with the original camera data. Now it is increasingly being used for entire movies.

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4:2:0

dc_admin — Tue, 12 Mar 2013 19:19:36 +0000

4:2:0 - A sampling system used to digitize the luminance and color difference components (Y, R-Y, B-Y) of a video signal. It decreases the overall data by 25 percent against 4:2:2 sampling and the color information has a reasonably even resolution in both the vertical and horizontal directions. 4:2:0 is widely used in MPEG-2 coding meaning that the broadcast and DVD digital video seen at home is usually sampled this way.

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4:2:2

dc_admin — Fri, 08 Mar 2013 19:18:01 +0000

4:2:2 - A ratio of sampling frequencies used to digitize the luminance and color difference components (Y, R-Y, B-Y) of an image signal. The term 4:2:2 denotes that for every four samples of the Y luminance, there are two samples each of R-Y and B-Y, giving less chrominance (color) bandwidth in relation to luminance. This compares with 4:4:4 sampling where full same bandwidth is given to all three channels – in this case usually sampled as RGB.

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4:4:4

dc_admin — Wed, 27 Feb 2013 19:16:36 +0000

4:4:4 - One of the ratios of sampling frequencies used to digitize the luminance and color difference components (Y, B-Y, R-Y) or, more usually, the RGB components of a video signal. In this ratio there is always an equal number of samples of all components. RGB 4:4:4 is commonly used in high-end post including that used for digital cinematography.

In the converged media world, big screen requirements for cinema demand a new high level of picture quality. Film is commonly scanned in RGB for digital intermediate and effects work, and recorded directly to disks. The signal is then kept in the RGB form all the way through the DI process to the film recorder – making the best use of the full RGB data. For the rapidly growing market of digital cinema exhibition the DCI has recommended X ́Y ́Z ́ chromaticity which can be derived from RGB using a 3D LUT.

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8K

dc_admin — Sat, 16 Feb 2013 17:11:13 +0000

8K- An image with 8192 pixels horizontal resolution.

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10-bit lin

dc_admin — Sat, 02 Feb 2013 19:40:11 +0000

10-bit lin - A type of digital sampling of analog images that creates 10-bit numbers to describe the post gamma corrected analog brightness levels of an image.Lin, short for ‘linear’, means the levels are assigned equally to the levels of the post gamma corrected analog signal they describe.

10-bit log

dc_admin — Mon, 28 Jan 2013 19:32:35 +0000

10-bit log - This usually refers to a 10-bit sampling system that maps analog values logarithmically rather than linearly. It is widely used when scanning film images which are themselves a logarithmic representation of the film’s exposure. This form of sampling is now available directly from some digital cinematography cameras.

16:9

dc_admin — Thu, 17 Jan 2013 19:31:48 +0000

16:9 - Picture aspect ratio used for HDTV.

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16-Bit Linear RAW

dc_admin — Sat, 29 Dec 2012 19:22:21 +0000

16-Bit Linear RAW- Type of RAW recording used by the Sony F65, F55 and F5 (in conjunction with the companion SR-R4 and AXS-R5 recorders). Each additional bit doubles the number of discrete colors that be recorded per RGB channel. Sony 16-bit RAW retains 16 times as many colors as conventional 12-bit RAW and 64 times as many colors as 10-bit RAW. By design, 16-bit RAW is the perfect gateway for 16-bit linear ACES post-production.

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