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Simple Dcp
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Throughout
film history directors, cinematographers, distributors, and exhibitors have
engaged during a fierce battle of wills
over the form and size of the projection
formats. The history of aspect ratios is as fascinating because it is confusing.
In theory, digital cinematography and filmmaking tools should afford us more
options than ever before, but the
sensible realities
of a worldwide media supply chain have
forced some bitter compromises. to
supply the idea for a
strong and
open standard, maintain compliance between vendors and supply the viewing public a uniform experience across
platforms, our choices are often limited to at least one of a couple of subsets of resolutions and aspect ratios.
Digital cinema is
not any different.
Here we’ll explore some basic considerations when choosing the right ratio for your digital cinema
master
The Cinema Screen
Not all screens are made equal. even as aspect ratios have changed over time, so have the theaters during which they're exhibited. Some screens are narrow, some are wide, and a few are even curved. Many screens are even explicitly built for a specific format, like IMAX or the Cinerama Dome in Hollywood, CA. The overwhelming majority of recent cinema screens, however, are often divided into one among two categories: FLAT and SCOPE
a simplified way of understanding the
excellence between
FLAT and SCOPE aspect ratios, has
got to do
with their film projection roots. Historically, FLAT films were projected with
spherical lenses while SCOPE films were intended to be projected with an
anamorphic lens. While both are technically widescreen formats, SCOPE
films might be projected considerably
wider, filling an audience’s sight and making a movie even more engrossing and larger-than-life.
These aesthetic advantages can only be fully realized, however, with a screen
optimized for SCOPE projection.
Digital cinema does not use anamorphic lenses except
in very specific circumstances, but we still use FLAT and SCOPE
terminology to
differentiate optimally
projection specs for
every sort of screen.
Everything from the construction of stage to masking and automation
ultimately get determined by this distinction.
Flat
(1.85:1)
Scope
(2.39:1)
To understand D-Cinema aspect ratios, it’s best to first understand the maximum capabilities of a projector. DCI projectors are equipped with either a 2K or 4K imaging chip. These chips each have a maximum resolution of either:
2K: 2048×1080
4K: 4096×2160
Digital Cinema Packages
are confirmed for one of the following “containers”:
FLAT (1.85:1) | SCOPE (2.39:1) | FULL (1.9:1)* | |
2K | 1998 x 1080 | 2048 x 858 | 2048 x 1080 |
4K | 3996 x 2160 | 4096 x 1716 | 4096 x 2160 |
When a facet ratio doesn't slot in one among the containers listed
above, it'll be letterboxed,
pillarboxed, or resized to
suit.
*The FULL container resolution is
that the maximum
resolution which
will be
achieved employing
a 2K
or 4K DCI projector. it's seldom used because of the majority of flat screens
are masked for 1.85:1.
Full Sensor vs. Screen Area
In order to project across the
complete screen
area, the projector lens focal
distance is
adjusted to fill the screen vertically for FLAT screens and horizontally for
SCOPE screens. Screen masking is
meant to soak up excess light to
offer the
impression of a
wonderfully edged
frame.
Mismatched screens and aspect ratios
Because cinema is
exclusive from
TV therein your projection
format and therefore the screen itself can have
different aspect ratios, anticipating how your film will look in several screening environments is
crucial if you
would like consistent
and optimal projection for your audience. Here are the 2 basic scenarios you’ll got to consider:
Flat Screen - Scope Film
Scope Screen - Flat Film
Running into either one
among these
situations is unavoidable. If you’re lucky, your exhibition venue will have
masking equipment to properly frame your film but the chances are slim. Many theaters aren't equipped with adjustable masking and people that are will often
neglect to use it for one reason or another. In either case, you'll still fill out the screen as absolute best by maximizing the
horizontal or vertical resolution in your container of choice. a touch more on this during a bit…
So what does one do when your ratio doesn’t match the precise specs of a FLAT or SCOPE
container? you
almost certainly already
guessed it: letterboxing and pillar boxing. Perhaps the foremost common usage of this is often getting HD content to
play during a FLAT container.
Choosing the proper Container
The most common mistake made when mastering your finished film for cinema is selecting the incorrect container for your film’s
native ratio. When paired incorrectly
and played on the
proper screen,
films can double abreast
of letterboxing
and pillar boxing to
make a
“floating window” window look.
In the left example, a SCOPE film is placed during a FLAT container with letterboxing and
projected on a SCOPE screen. When projected during this fashion, the effective scaled
resolution leads
to a
full 40% loss in screenland. within the right example, a less
common FLAT film during
a SCOPE
container on a FLAT screen. this
will be
seen sometimes in films that blend aspect ratios. Here
screen land is reduced by 42%.
When unsure, play by this easy rule of thumb:
FLAT containers should avoid Letterboxing
SCOPE Containers should avoid Pillarboxing
Ideally, your film matches up perfectly with one among the aspect ratios listed
above. In most other cases your ratio will likely be “close
enough” to form the
choice easy. as an example, a 2.4:1 ratio image makes the foremost sense within the 2.39:1 SCOPE container.
Some aspect ratios, just
like the infamous
RED 2:1, are a
touch trickier.
It’s an excellent
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