Simple Dcp

Simple Dcp Ntsc

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 screenlandwithin 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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