These TIFF files are the proposed set of Flat and Scope slides/drawings for use with the RP 2117 document and DCPs.
You will need a password that is being told to members of the committee. Join SMPTE and the Standards Community so you can entertain the whole family with ideas for the future of Entertainment Technology!
Send a note to [email protected] if you would like to be notified when they are added,
These TIFF files are the proposed set of Flat and Scope slides/drawings for use with the RP 2117 document and DCPs.
You will need a password that is being told to members of the committee. Join SMPTE and the Standards Community so you can entertain the whole family with ideas for the future of Entertainment Technology!
There are a couple of dimension drawings still to be attached. If this note disappears, that means that they are in this tar file. Send a note to [email protected] if you would like to be notified when they are added, or when the DCPs created from these are added.
This download expands into 2 DCPs, one for Flat (Constant Width) and one for Scope (Constant Height) Screens. Each is 20 seconds long, each begins with a targeting slide for 10 seconds which is followed by a black and white measuring slide.
The download password is restricted to SMPTE Standards Committee members – please join the fun.
These DCPs follow the concepts of ST431-2 and ST196 with 9 targets at the edges and corners. There are two major changes though, both part of the new ST2117 document.
First, to diminish the effects of flare and glare in the measuring devices – which can add as much as 10% to a reading – these slides use a constrained measuring spot. Instead of following the directions of the previous standards, to measure in from the corners and edges by 5%, these target spots are placed so that their center is on a 10% of the screen width line. This allows for masking inconsistencies of 5%. The spots are sized at 8% of screen width so that measuring devices with a 2° aperture can easily be used from a distance that is 3 screen heights back.
Preceding the measurement slide is a slide that acts as a targeting slide, grey in color with blue pointers so that the measuring person doesn’t have to stare into a white space to get the device set.
The DCPs work on the presumption that one can stop the DCP for a moment while aiming and measuring.
At this time, these are not officially the drawings of the new standard. If you notice anything wrong, please let us know.
Further, there are circumstances where your tech team doesn’t want or need to allow for any masking. If requested, we will design a similar pattern that has the 8% spots on a 5% line.
You will notice that the Targeting Slides have names and letter designations for the measuring points. These help when one person is making notations and another is taking the measurements. The letter designations can also be used for database designations. It is an attempt to assist record keeping. Let us know how this might be improved or successes you have had with them.
This Dials for Contrast DCP is an experiment – we need your feedback after you play it through a few times.
While one idea is to stress Extended Dynamic Range and 2020 systems, another hope is that we are creating a tool that will help a non-technical person monitor the stability or degradation of their projection system quality. It is great if you have a radiospectrometer that you can set up every week, but who has the 20 minutes to take a reading of .001 nits?
It starts at the impossible to see blue dial at 1.5% luminance and goes to 0%. If you can see any of that, you have a great system, right? After 5 seconds a set of numbers and marks appears around the outside so you can make a note of where the luminance became impossible to see.
The same thing happens 3 times for blue at 3% to 0%, then 4.5%-0% and finally 6% to 0%. The theory is that even a fumbling xenon system should be able to show some color at 6% and be useful as the bulb fades.
After Blue comes the cycle Red, then Grey, then Green.
Oh, and there is an acoustic piano test that we are working with that is thrown into the different speakers. Composed and Performed by Jeff Mikusky. We will have a low end section and some strings soon.
We presume that for some systems the 1.5% – 0% dials will be impossible to see, and for some systems the 6% – 0% dials will be so much light that it never disappears – making the dial unusable. First Question: is there a Dial Number that works no matter the system?…which when assembled in a DCP would be a good 40 second test? …is 10 seconds enough time or too much?
Also, would some secondary colors be interesting?
This is a new version. The previous version was created in Final Cut Pro…this one is 16bit/2020 TIFF files straight into the DCP creation tool.
We are not certain if this DCP is just pretty with 4 different views of Trumpets, or if they are usable for some unknown reason.
They are just the first of a series that tries to do for exhibition what MTF style pictures do for lenses. You can’t see from this picture, but there are red lines in there too. Therefore they are also part of the series that attempts to present slides and sounds that can be used by humans with no more tools than their vision and sound systems.
Built with 16 bit, 2020 TIFF files, that can be found here: Trumpets~! [TIFFs]
This DCP is one minute of 4 rows of 4K Grey Boxes. Left to right, each block is 10% less than the previous. Top to bottom, each block is 2.5% less than the one above. These should actually be easy to distinguish on any well tuned digital projector.
What is unique is that within each box is 3 rows of numbers that give the percentage of White in each box. So, the top left box says “100” 3 times. Each instance of 100 is different though. The top is 65353 (16 bits of white) x 1.0(the Box Number) x .9999 [=65,528], the next is 65353 x 1.0 x .999 [=65,469] and the 3rd is 65353 x 1.0 x .99 [=64,480]. The next to the right is the same but substitute the 1.0 for .90 [=58976, 58,923, 58,392], while the one below you substitute .975 instead of 1.0 as the Box Number [=63,890, 63,833, 63,258].
The trick is to see if these numbers show up on a screen. Obviously an experiment and we would appreciate everyone telling us of their experience…with thanks to you.
The new version uploaded on 1 August 2019 exposes one column from the right, until the entire piece is exposed in order to allow people to see without the glare from the whites on the left side. …oh, and it starts with 30 secs of dark so that the eyes can take better advantage of the dark.
There are 3 TIFFs in this download. The first is 5 and 2.5 of each color and Grey. The 2nd is 2.5% and 1%. The third is 1 and point 1…I can’t wait to see that in a dark room with a 108 and 300 nit display system.
The original idea was to find a way that a non-technical person could look at a single file and tell whether their system has changed for the worse since the last evaluation. The problem is that a P3 system in a room with a lot of stray light may not even get a good reading with 5% bars while it will be too easy for a sophisticated room…but will Point One be useful there?
We would like to get feedback on what combination of different percentages for different colors would be best, and if you notice, which order…for example, should the grays be on the outside? …or the greens never near the blues?
Thanks~!
Oh, the Passcode, as always, is: QA_b4_QC
(Amazing how little the compressed 8 bit PNG file below shows nothing of the nuance of what is in the 16 bit TIFF. Go for it~!
Don’t look at this. It doesn’t exist. It is just an attempt to make a couple of the very cool CST test DCPs into 24 frames per second. (It is said that there are projectors – or perhaps projection software versions – which have problems when there are different rates in the same playlist.)
But they are under copyright, so this is a bad thing to have made. And they will disappear after a few days. So, go to other DCPs here.
Passcode is: QA_b4_QC
Or, go to the CST site yourself…but make certain you can play 25fps without getting into trouble:
Quality Assurance Tools and News for Cinema Exhibition
We ain't the bad guys...we wouldn't know how to keep anything about you~!
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