Digital Cinema

contents PREFACE = xi ACKNOWLEDGMENTS = xiii CHAPTER 1 BEGINNINGS = 1 ANCIENT WISDOM = 1 EARLY DISCOVERIES = 3 DAWN OF AN INDUSTRY = 4 STORYTELLING = 8 TECHNOLOGY TRANSITION = 9 ELECTRONIC IMAGING = 10 A NEW BEGINNING = 12 CHAPTER 2 COMQUTER GRAPHICS, DIGITAL VIDED, AND HIGH-DEFINITION TELEVISION = 15 DIGITAL AND ANALOG = 16 VIDEO AND FILM = 19 THE PIXEL'S PREMIERE = 22 PRODUCTION, POST, AND PROJECTION = 24 CHAPTER 3 LUCAS TAKES THE LEAD = 27 GEARGE LUCAS' DIGITAL VISION = 30 CREW PERSPECTIVE = 39 EPILOGUE = 49 CHAPTER 4 DIGITAL COMPRESSION = 51 MANAGING DIGITS = 52 LOSSLESS AND LOSSY COMPRESSION SYSTEMS = 53 EXPECTATIONS = 53 PRINCIPLES OF COMPRESSION = 54 PROCESS OF COMPRESSION - GENERATING THE DATA-SAMPLING AND QUANTIZATION = 55 COLOR SPACE CONVERSION = 56 TRANSFORMS = 57 QUANTIZATION = 60 LOSSLESS COMPRESSION = 61 TEMPORAL COMPRESSION = 62 CAVEATS = 62 COMPRESSION SCHEMES FOR DIGITAL CINEMA = 63 CHAPTER 5 CINEMATOGRAPHY TOOLS = 65 TEN REASONS WHY FILM WILL NEVER DIE = 66 A LIST OF CHOICES = 67 DIGITAL CINEMA CAMERAS = 75 HIGH-DEFINITION VIDEO CAMERAS = 75 THE HDV FORMAT = 77 PROGRESSIVE STANDARD-DEFINITION CAMERAS = 80 INTERLACED STANDARD-DEFINITION CAMERAS = 82 CHAPTER 6 POSTPRODUCTIOON = 83 A BRIEF HISTORY OF FILM POSTPRODUCTION = 84 A BRIEF HISTORY OF VISUAL EFFECTS = 86 VIDEO CHANGES THE LANDSCAPE = 87 THEN ALONG CAME DIGITAL = 88 DEMOCRATIZATION OF DIGITAL = 91 FILM IS DIGITAL = 92 AS FOR NOW... = 95 CHAPTER 7 EFILM:A CASE STUDY IN DIGITAL INTERMEDIATES = 97 FULL CAPABILITIES = 98 THE SCIENCE OF COLOR = 99 NEW WORKFLOWS = 102 CONFORMING = 103 COMPUTER POWER = 105 IT'S WORTH IT = 106 CHAPTER 8 SOUND IS HALF THE PICTURE = 109 REASSOCIATION = 110 MIDI ARRIVES = 111 DIGITAL ADVANTAGES = 113 DIGITAL SOUNDTRACKS AND SURROUND SOUND = 114 AUDIO IMPACT = 116 THE SOUND OF EVIL = 117 CHAPTER 9 REVEL WITHOUT A CREW = 121 LAB RAT TO FILMMAKER = 122 CHAPTER 10 INDY DREAMS, INDY REALITIES = 131 LATE 2000 = 133 THE RIGHT MEDIUM = 134 MAXIMIZING TIME = 135 LESS WAS MORE = 136 TIME AWAY = 137 TOOLS AND TALENT = 137 CHAPTER 11 A WHOLE NEW BALLGAME = 139 LEVERAGING EXPERIENCE = 139 ADVANTAGES = 141 DIGITAL IS FILM, FILM IS DIGITAL = 141 CINEMA VANGUARD = 143 CHAPTER 12 THE BEST THIEF IN THE WORLD = 145 TAKING RISKS = 145 HAND-HELD MOBILITY = 146 MPEG IMX = 148 MYTHS AND REALITIES = 149 POST = 151 CHAPTER 13 INTERVIEW WITH MICHAEL BALLHAUS, ASC = 153 CHAPTER 14 DIGITAL PROJECTION - FILMS WITHOUT FILM = 161 SETTING THE STANDARD = 162 JUST ADD COLOR = 163 DON'T SKIMP ON DETAILS = 164 LIQUID CRYSTAL DISPLAYS (LCDs) = 164 LIQUID CRYSTAL ON SILICON = 165 FROM ANALOG TO DIGITAL = 166 GRATING LIGHT VALVE = 168 READY FOR THE AUDIENCE = 169 CHAPTER 15 TEXAS INSTRUMENTS' DLP CINEMA = 171 CHAPTER 16 THE FUTURE OF TE MOVIES = 183 THE DIGITAL DIFFERENCE = 184 INCREASED EFFICIENCY = 185 WHY FIX WHAT ISN'T BROKEN = 188 REGAL TREATMENT = 189 ALTERNATIVE PROGRAMMING = 191 THE END OF THE BEGINNING = 192 EPILOGUE = 195 INDEX = 197

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