Went up to the cabin for the holiday. Did some logging.
Additionally, I read through a digital cinema and mastering textbook (well, more of a primer I think), mostly regurgitated DCI and SMPTE info from ’07 by the chair of the DCI- it’s (as expected) a rather technical subject matter with lots of 3×3 matrices, and algebraic computations. But here are some random things I found interesting and educational:
How young the entire digital process is as a whole- (2005/2006- most films) Implementation of digital really took hold in the late 90’s.
JPEG2000 is the DCDM Master Codec at 12bit 2K or 4K resolution.
The color space of digital cinema is X,Y,Z with chromaticity coordinates [0.314 x, 0.3561 y] or about 6300K
The human eye is very sensitive to hue shifts but easily adaptable to white point differences
12bit encoding is needed to encode luminance changes below the threshold of luminance visibility. 11Bits is actually closer to the curve of the human vision modulation threshold. (more in SMPTE Journal 113.9, Sept. 2004)
A gamma of 2.6 matches the human visual modulation curve relatively well (although not exact).
That much more impressed with what RED is trying to do (4K NEGATIVE)
65MM highest quality scan is 6K.