Nowadays, the cinematographic language claims for a specific type of interpretation and understanding. The emergence of the digital image and the innovative immersive reception devices provide new and diverse possibilities of reading and interacting within the filmic narrative. That is to say, cinema is constantly reinvented and explores potential renewals within the new interactive medias. Thi...

This paper presents a reflection on themes related to the virtual image. In addition, it tries to define a grammar of the digital virtual image, desuming it from other languages such as those related to photography, cinema or video games. After analyzing in detail the set of information and organizational and strategic activities that govern the shaping of the virtual image, the paper outlines ...

Cameras automatically apply non-linear transformations to the sensor data, allowing for perceptually-uniform quantization suited to standard dynamic range displays in dim conditions. In the cinema industry, data is recorded in raw (linear) format and non-linearly corrected in post-production by a skilled technician who optimizes image appearance for cinema (dark) conditions. We propose a method...

In digital cinema, an image goes through many types of processes like scanning, mastering, and digital intermediate. Among them, the digital intermediate process plays a central role because it determines the final color of an image. It edits and changes the colors of the images. However, some color distortions such as color bleeding are generated when editing and changing local colors in an im...

In the entertainment industry’s quest for the “suspension of disbelief,” two primary sensory stimuli have been engaged: sight and sound. Since the advent of digital audio, a number of new multitrack digital sound formats have appeared in the motion picture industry, all in an attempt to achieve the ultimate audio experience. However, visual presentation has not advanced at the same pace as the ...