аЯрЁБс>ўџ 79ўџџџ6џџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС7 №ПobjbjUU %(7|7|=1џџџџџџlдддддддшŠ Š Š 8Т Ю шіі і і і і і і і …‡‡‡‡‡‡$ќ  РЋді і і і і Ћjдді і Рjjjі –ді ді …jі …jrjмr…Tдд…і ъ p@=‰b"ЦшЂŠ Œ pй…ж0чžм ќ nм …jшшддддйThe DCI spec is finished, what would Europe like to add via SMPTE? 1) Are more frame rates required? The suggestion was that these could include flexible rates for legacy material and higher for 3D and high motion content, as well as SDTV and HDTV rates. i.e. to adopt the 4 EDCF levels + IMAGO recommendations? Kommer Klein put the case that the move to digital projection is a good time to cover our need and add flexible frame rate support. Imago was now strongly of the opinion that 48Hz not the best choice as an upper rate and supported 60Hz as a common capture and replay format. This would have technical advantages and make resale through TV simpler. The US contingent (Wendy Alysworth, Al Barton, Howard Lukk, Walt Aldway) replied that there had been considerable discussion of frame rate and whilst rates up to 120 had been requested, the current DCI limit of 48 was enforced by the bandwidth ceiling of current signal interconnects and the desire to choose one which would be supported. It may be more constructive to look into external frame rate conversion for non-std applications. SMPTE includes a metadata field for frame rate which could allow development, although DCI do not refer to this. David Monk commented that although projectors could run at different rates, each requires specific timings and optimisation – not to be done on the fly, but at design. The consensus was that a need for alternative rates should presented to the SMPTE so that, if adopted, support would be included by equipment vendors. If there was a need then standards and support would follow. Support of higher rates might be further contingent on new signal interfaces allowing enough bandwidth. There were issues with both higher and lower frame rates and both should be presented if there was to be eventual support. I believe Kommer was considering taking this up and Paul Read was willing to represent the needs of the archival community. 2) Is there a need for more cost effective compression? Peter Wilson suggested that the DCI JPEG2000 DCP size was such that satellite delivery would need to be many times real time, what were the prospects for using VC1/MPEG2 to ease this? The studios were very, very keen to avoid multiple encoding; they considered that single inventory was key. There was no concession that the full DCI system might be too expensive for some networks and a suggestion that lower rates for JPEG2000 should be used (which would be another encode in any case). With the arrival of DVB-S2 and faster DSL networks the package size is probably not the major issue but the cost of the venue equipment may be. I think this point has legs but needs an interest group to require or request coverage outside the DCI model. Telcos would not have a problem carrying large packages but if the support of a low cost network were additional revenue that would of course be welcome. Perhaps the Film Council and its equivalents would consider this as an avenue for extending ‘remote’ audience inclusion? 3) Was E-Cinema acceptable to describe the lower levels of the EDCF recommendations? This passed with minimal comment and E-Cinema was accepted. 4) Project heads reports: Few project heads were present and there are many presentations due at the full EDCF meeting on Tuesday so this discussion was limited to the suggestion of the addition of a Production group and activity to include archival issues to understand the needs and encourage the involvement of celluloid fundamentalists. Whilst digital restoration was gaining ground there was a lot of suspicion of technology and many very real issues with the long-term storage and recall of both film and data. Patrick von Sychowski – highlighted that one of most successful aspects of the NFT Test Bed has been digital showings of older films though their ‘digital futures’ program and that this would become a more important channel in future due to the UK Film Council’s DSN. It was agreed that this was a live topic, an area for Paul Read and EDCF technologists to address. 5) DCI conformance It was understood that DCI wished to have an approvals lab in Europe, what should be its remit and modus operandi? Walt Aldway replied that DCI was instead now seeking to create a common set of test procedures which would identify systems as DCI compliant, or not, and that these would be made available to whoever wanted them. Anti-trust laws meant this spec could not be enforced in the market, certification had legal issues but compliance work was important. Several organisations were interested in setting up compliance labs including CST (France), The Fraunhofer Institute (Germany), Kale Uni and the DCCJ (Japan) and IAD (Singapore). Al Barton added that it was safe to say that no one was DCI compliant yet – but that some were very close. Post DCI the Studios would continue to support the spec. Michael Karrogosian cautioned that this wouldn’t create a brand. NATO were doing research and Opengroup were doing this very thing, managing brand certification. This left a few unanswered questions; such as if anyone could set up, could manufacturers chose to self certify? This was considered unacceptable in the short term, as a fairly strict regime would be preferable to ensure rapid interoperability. In the future compliance might be less of an issue – in the manner of DVD player production? There was clearly much still to do here and no DCI/Hollywood edict. This seems a much more cautious line than the one considered to be likely and allows breathing space for development. Summary A very useful and well-attended meeting where the very welcome US members enabled an open discussion. Several issues were opened constructively but will need active support to progress. Rob Spray Secretary EDCF Technical Module Attendees: Andreas Gronarz Sanyo Mats Erixon KTH Sweden Emil Jankovic KTH Sweden Kommer Klien IMAGO Wendy Aylsworth Warner Brothers/SMPTE John Graham BKSTS (EDCF Secretary) Jason Power Dolby Dave Schnuelle Dolby Michael Karrogosian Consultant/NATO Paul Read Archivist – ? Christiane Ducasse Smartjog (+ colleague) Walt Aldway DCI Howard Lukk Walt Disney/DCI Beniot Michel XDC David Monk IBC/City University Peter Wilson HDDC (Chairman EDCF-T) Dirk Maes Barco Patrick von Sychowski Unique Digital Jean Francois JP2K Wolfgang Ruppel T-Sytems Al Barton Sony Rob Spray BTExact (Secretary EDCF-T) (Please let me know if you are missing from this list) EDCF-T IBC Meeting minutes 11th September 2005 CDf–—› œ д б&bc}кэЦЧЯЕР<=Z\noљ№фн№н№фнн№нфн№невЪХУХH*CJ^J5CJ\^J^J5CJ\^J ^J_HaJ5CJ\^J_HaJCJ^J_HaJ CJ mH sH CDf9:–—НОf g Ѓ Є › œ д Œ  NOаб&bc}ИЙ§їїїїїїїїїїїїїїїїїїїїїѕїїѕїї7$8$H$=nўўЙuvйкэ`aЗИ  ЦЧЯ‰Š”ДЕРжэ?љљљљљљљљљљљљљљљїљљљѕѕѕяяяяя Ц@ 7$8$H$?bt‰­Хяџ-Lp€ЅИбр=Xlmnoљљљљљљљљљљљљљљљљљљљїїѕѕљ Ц@ #0PАа/ Ар=!А "А # $ %А i@@ёџ@ Normal CJOJQJ_HaJmH sH tH \\ Heading 1$7$8$@&H$&5CJOJQJ\^J_HaJmH sH L@L Heading 2$7$8$@&H$5CJ\^J_HaJ<A@ђџЁ< Default Paragraph FontTB@ђT Body Text$7$8$H$a$5CJ\^J_HaJmH sH LPL Body Text 2 7$8$H$CJ^J_HaJmH sH .U@Ђ. 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