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UID:31616437-3865-4934-b937-356365623063
BEGIN:VEVENT
UID:f14eeeccbefc8bc9a38bf74588e49b295b517209@swoogo.com
DTSTAMP:20260812T232718Z
DESCRIPTION:While physical film prints are not widely used for motion pictu
 re distribution due to the industry’s successful transition to digital cin
 ema distribution\, negative film and interpositive (IP) film are still fre
 quently used as a source for motion picture releases in High Dynamic Range
  (HDR) and Standard Dynamic Range (SDR) formats. Modern productions that u
 se film as the acquisition format typically scan the film negative in a fi
 lm scanner and then use modern digital production processes such as visual
  effects\, editing and color grading similar to modern digital camera work
 flows. Remastering projects leverage the thousands of film negatives and I
 Ps that are stored in Hollywood studios’ vaults to create new versions of 
 older titles. IPs were created in traditional photochemical film workflows
  and are often available for use in remastering projects. \nFilm scanning 
 is a critical step in both modern film production and remastering workflow
 s as it converts the analog medium of film to a digital format. The film s
 canning process itself can introduce scanner noise into the digital image 
 which has different characteristics than the more familiar film grain nois
 e. Film grain noise is inherent in the physical film medium itself and its
  visibility and characteristics vary based on the film format and the type
  of film used. Filmmakers often consider the characteristics of film grain
  as a visual aesthetic that be leveraged creatively to enhance the storyte
 lling. Traditional photochemical film workflows that did not use film scan
 ners also were impacted by film grain noise. \nScanning different types of
  film elements (e.g. negatives and IPs) in different film scanners with di
 fferent scan settings can lead to different results. The visibility of the
 se differences is different when the scan is used to create an SDR Home Ma
 ster or SDR Cinema release versus an HDR Home Master due to the increased 
 luminance and contrast often associated with the HDR format. This paper qu
 antifies these differences and explains the visual impact of film grain ve
 rsus scanner noise with an emphasis on HDR video. Additionally\, this pape
 r describes our recent experiments with test films and presents visual exa
 mples of scanner noise and film grain noise.
DTSTART:20191023T223000Z
DTEND:20191023T230000Z
LAST-MODIFIED:20260812T232718Z
LOCATION:Sacramento Room
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Film Grain and Film Scanner Noise in HDR Video
TRANSP:OPAQUE
X-ALT-DESC;FMTTYPE=text/html:While physical film prints are not widely used
  for motion picture distribution due to the industry’s successful transiti
 on to digital cinema distribution\, negative film and interpositive (IP) f
 ilm are still frequently used as a source for motion picture releases in H
 igh Dynamic Range (HDR) and Standard Dynamic Range (SDR) formats.  Modern 
 productions that use film as the acquisition format typically scan the fil
 m negative in a film scanner and then use modern digital production proces
 ses such as visual effects\, editing and color grading similar to modern d
 igital camera workflows.  Remastering projects leverage the thousands of f
 ilm negatives and IPs that are stored in Hollywood studios’ vaults to crea
 te new versions of older titles.  IPs were created in traditional photoche
 mical film workflows and are often available for use in remastering projec
 ts.  <br />\nFilm scanning is a critical step in both modern film producti
 on and remastering workflows as it converts the analog medium of film to a
  digital format. The film scanning process itself can introduce scanner no
 ise into the digital image which has different characteristics than the mo
 re familiar film grain noise.  Film grain noise is inherent in the physica
 l film medium itself and its visibility and characteristics vary based on 
 the film format and the type of film used.  Filmmakers often consider the 
 characteristics of film grain as a visual aesthetic that be leveraged crea
 tively to enhance the storytelling.  Traditional photochemical film workfl
 ows that did not use film scanners also were impacted by film grain noise.
   <br />\nScanning different types of film elements (e.g. negatives and IP
 s) in different film scanners with different scan settings can lead to dif
 ferent results.  The visibility of these differences is different when the
  scan is used to create an SDR Home Master or SDR Cinema release versus an
  HDR Home Master due to the increased luminance and contrast often associa
 ted with the HDR format.  This paper quantifies these differences and expl
 ains the visual impact of film grain versus scanner noise with an emphasis
  on HDR video. Additionally\, this paper describes our recent experiments 
 with test films and presents visual examples of scanner noise and film gra
 in noise.<br />
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