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Digital Picture Exchange
Digital Picture Exchange
Digital Picture Exchange
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Digital Picture Exchange
Filename extension
.dpx
Internet media typeimage/dpx
Developed bySMPTE
Initial release1.0 / 18 February 1994; 31 years ago (1994-02-18)
Latest release
2.0HDR
2018; 7 years ago (2018)
Type of formatImage file formats
Extended fromCineon
StandardST 268-1:2014,[1] ST 268-2:2018[2]
Open format?non-free SMPTE standard, USD 175
Websitewww.smpte.org

Digital Picture Exchange (DPX) is a common file format for digital intermediate and visual effects work and is a SMPTE standard (ST 268-1:2014). The file format is most commonly used to represent the density of each colour channel of a scanned negative film in an uncompressed "logarithmic" image where the gamma of the original camera negative is preserved as taken by a film scanner. For this reason, DPX is the worldwide-chosen format for still frames storage in most digital intermediate post-production facilities and film labs. Other common video formats are supported as well (see below), from video to purely digital ones, making DPX a file format suitable for almost any raster digital imaging applications. DPX provides, in fact, a great deal of flexibility in storing colour information, colour spaces and colour planes for exchange between production facilities. Multiple forms of packing and alignment are possible. The DPX specification allows for a wide variety of metadata to further clarify information stored (and storable) within each file.

The DPX file format was originally derived from the Kodak Cineon open file format (.cin file extension) used for digital images generated by Kodak's original film scanner. The original DPX (version 1.0) specifications are part of SMPTE 268M-1994.[3] The specification was later improved and published by SMPTE as ANSI/SMPTE 268M-2003. Academy Density Exchange (ADX) support for the Academy Color Encoding System are added in the current version of the standard SMPTE ST 268-1:2014. Extensions for high-dynamic-range video and wide color gamut are standardized in SMPTE ST 268-2:2018.

Metadata and standard flexibility

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SMPTE specifications dictate a mild number of compulsory metadata, like image resolution, color space details (channel depth, colorimetric metric, etc.), number of planes/subimages, as well as original filename and creation date/time, creator's name, project name, copyright information, and so on.

Furthermore, a couple of industry-specific metadata areas are present: Motion-Picture and Television ones. They are either used only if the picture has enough embedded information relevant to that specific industry, otherwise are left "empty". For example, Motion-Picture-specific metadata includes perforation-exact film KeyKode (if the image comes from a film scan), camera shutter angle, slate information and frame positioning within a frame sequence. On the other side, Television metadata includes full SMPTE time code, video overscan and field information, and signal/colour level information.

A third, variable-size metadata area, which is user-definable, exists. Third-party applications/software occasionally use this area to store additional information; for example, when the DPX stores images with technical specifications far away from the original standard (like pictures coded in the CIE XYZ color space, or Bayer-patterned raw frames from specific digital cameras like the Arriflex D-21).

SMPTE ST 268-2:2018 defines a standards-based metadata section that supports Extensible Metadata Platform, XML, and KLV metadata representations.

Support

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XnView can read FFmpeg pix_fmt=abgr DPX images. ImageMagick supports DPX.[4] The C++ source of a DPX library is available.[5] DjV,[6] and vooya[7] support DPX sequences. IrfanView also has support for DPX images through a plugin. [8] Lasergraphics motion picture film scanning systems include support for output to DPX color/B&W 10/16-bit (conforms to SMPTE 268M for compatibility with graphics, compositing, and other post production systems).

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Digital Picture Exchange

View on Grokipedia
from Grokipedia
Digital Picture Exchange (DPX) is a resolution-independent, pixel-based file format designed for the storage and exchange of high-quality digital moving pictures, primarily used in film post-production, visual effects, digital intermediate processes, and archiving. Each DPX file represents a single image frame, supporting various color spaces such as RGB and YUV, bit depths including 10-bit and 16-bit per channel, and optional lossless compression methods like run-length encoding. Originating from Kodak's (.cin) format developed in the early 1990s for scanned film images, DPX was standardized to facilitate across computer systems in the motion picture industry. The Society of Motion Picture and Television Engineers (SMPTE) first published the specification as ANSI/SMPTE 268M-1994 for Version 1.0, establishing a binary with mandatory header sections for generic image data, optional industry-specific and user-defined data, and the image elements themselves. This format enables the transport of frames without inherent size limits, commonly supporting resolutions like 2K (2048×1080) and 4K (4096×2160) for theatrical distribution, film recording, and projection. In 2003, SMPTE revised the standard to Version 2.0 (SMPTE 268M-2003), with a 2012 amendment and further 2014 revision (SMPTE ST 268-1:2014), incorporating enhancements such as additional metadata fields, clarified padding conventions for efficient storage, structural reorganizations to address implementation issues from the original, and support for Density Exchange Encoding to improve compatibility with traditional film density measurements. DPX files are widely employed in professional workflows for their ability to preserve uncompressed or lightly compressed data, ensuring fidelity during , , and final output to film or digital formats, with significant holdings archived by institutions like the .

Introduction and History

Origins and Development

The (DPX) format was developed by in the early as an extension of their earlier system, which had been introduced in 1992 as a comprehensive digital film scanning and recording suite for workflows. Designed to address limitations in proprietary handling, DPX emerged as a more versatile, open raster-based format derived from the (.CIN) structure, enabling broader across tools and facilities. The primary motivation behind DPX was to facilitate the lossless exchange of high-resolution scanned film frames, supporting the growing demands of processes in , such as scanning 35mm film negatives into digital form for manipulation without quality degradation. This was particularly driven by the needs of Hollywood filmmakers for advanced digital , visual effects integration, and film restoration, as exemplified by early applications like the digital cleanup of Walt Disney's and the Seven Dwarfs (1937) using related technology. Initial specifications for DPX began to take shape around 1994, reflecting the industry's shift toward digital workflows that could handle the substantial data volumes—up to 40 MB per 35mm frame—required for theatrical-quality imaging. A key aspect of Kodak's release of DPX was its support for 10-bit logarithmic encoding, which accurately matched the density range of , allowing precise representation of tonal values from scanned negatives in a manner compatible with traditional film printing densities. This encoding preserved the full of original footage during digital transfers between machines, workstations, and effects facilities, laying the groundwork for standardized adoption through organizations like SMPTE.

Standardization Process

The standardization of the Digital Picture Exchange (DPX) format was formalized by the Society of Motion Picture and Television Engineers (SMPTE) to ensure across systems in the film industry. In 1994, SMPTE published the initial specification as ANSI/SMPTE 268M-1994, establishing Version 1.0 of the DPX standard, which defined the core file structure for exchanging high-resolution motion picture frames on various media. This was developed to promote seamless data transfer between computer-based systems, addressing the need for a vendor-neutral format in workflows. Building on foundational work by , SMPTE's Version 1.0 provided a robust baseline for 8- and 10-bit logarithmic and linear image data, with fixed header layouts to facilitate consistent parsing. The standard's design emphasized exchange efficiency without specifying input/output device characteristics, allowing broad adoption while maintaining flexibility for evolving hardware. In 2003, SMPTE revised the specification as SMPTE 268M-2003, introducing to resolve implementation ambiguities and accommodate technological advancements. This update maintained backward compatibility with Version 1.0 files through optional padding methods and expanded support for wider data ranges, including 1- to 16-bit integer formats and 32- or 64-bit IEEE floating-point options, enabling higher precision for and . Additionally, incorporated industry-specific header enhancements, such as fields for orientation and scanning details, to better serve motion picture applications while reorganizing the document for improved clarity. Subsequent updates further refined the standard. Amendment 1 to , published in 2012, added support for Academy Density Exchange Encoding (ADX), enhancing compatibility with the Academy Color Encoding System (ACES) for precise film representation. In 2014, SMPTE ST 268:2014 revised the core specification to correct significant errors identified in the 2003 version while preserving . More recently, in 2023, SMPTE ST 268-2:2023 introduced extensions for (HDR) and wide color gamut (WCG) imaging, supporting advanced workflows in and as of 2025. These developments have solidified DPX as a versatile, enduring standard for digital image exchange.

Technical Specifications

File Structure Overview

The DPX employs a binary structure comprising a fixed 2,048-byte header section, followed by optional variable-length user-defined (up to 1 MB) and the variable-length section. This layout ensures efficient storage and access for high-resolution raster used in workflows. Each DPX file is dedicated to representing a single raster frame, with no inherent support for sequence management or multi-frame encapsulation, requiring external tools for handling series of frames. The format accommodates 1 to 8 elements per frame, such as RGB channels or logarithmic , to support diverse color spaces and bit depths. DPX supports both big-endian (default) and little-endian byte orders, determined by the magic number at file offset 0—"SDPX" (ASCII) for big-endian or "XPDS" for little-endian—allowing compatibility across hardware architectures. Offset pointers embedded in the header, such as the offset and per-element offsets, facilitate precise navigation to the elements without parsing the entire file. Metadata elements, including dimensions and color metrics, are stored within the header sections to describe the content. The total file size in bytes is computed as the sum of the fixed header size, any user-defined data length, and the data size; the latter is derived from the width in pixels, height in lines, number of elements, and bytes per element (e.g., 10 bits per component typically packed into 16-bit words with padding). This calculation ensures the file integrity field in the header matches the actual byte length for validation during read operations.

Header Components

The DPX file format organizes its header information into a series of fixed-length blocks totaling 2,048 bytes, which provide essential structural and descriptive data for the image file. These headers ensure by using a consistent layout, with fields defined at specific byte offsets to facilitate . All headers employ NULL-terminated ASCII strings for identifiers, version numbers, and offset values, which helps prevent errors when handling variable-length data in subsequent sections. The Generic File Information Header, occupying the first 768 bytes (offsets 0–767), serves as the foundational component, containing core file-level metadata such as the magic number ("SDPX" in ASCII at offset 0), version identifier ("V2.0" at offset 8), offset to the image data section (at offset 4), and total file size (at offset 16). It also includes creation date and time in ISO 8601 format (at offset 136), as well as the creator's name and copyright information, all stored as fixed-width ASCII fields to maintain parseability. This header's fixed structure ensures that essential file attributes are immediately accessible without variable parsing. Following this, the Image Information Header spans 640 bytes (offsets 768–1,407) and details the image's structural properties, including orientation (a 2-byte at offset 768 indicating left-to-right/top-to-bottom scanning), pixels per line (4 bytes at offset 770), and lines per element (4 bytes at offset 774). It further describes up to eight image elements, each with a 72-byte covering descriptors (e.g., RGB or ), bit depth, packing method (e.g., planar or interleaved, at offset 804 per element), and data offsets, enabling precise interpretation of the image layout. chromaticity and gamma encoding are also specified here in floating-point fields, providing colorimetric context without delving into pixel values. The Image Source Information Header, fixed at 256 bytes (offsets 1,408–1,663), captures details about the original capture medium, such as X and Y offsets for the source image bounds (at offsets 1,408 and 1,412), manufacturer ID and type (ASCII at offset 1,432), frame ID (at offset 1,532), and information (100-byte ASCII at offset 1,564). This header supports in production workflows by including specifics like the source and scanned dimensions, using ASCII for textual identifiers to align with industry logging practices. Industry-specific headers extend this with targeted data: the Film Information Header (256 bytes, offsets 1,664–1,919) addresses motion picture details, including edge code (ASCII at offset 1,696 for identification), frame position in (at offset 1,712), shutter angle (floating-point at offset 1,728), and prefix/suffix offsets for keykode tracking. The Television Information Header (128 bytes, offsets 1,920–2,047) handles video-specific elements like (at offset 1,920), field number, and horizontal/vertical sampling rates, ensuring compatibility with broadcast standards. These headers maintain fixed layouts with ASCII strings for codes and labels, such as identifiers, to avoid in variable production environments. The Orientation Header is integrated into the Image Information Header, specifying pixel packing (e.g., user-defined bits for planar vs. interleaved arrangements) to guide data unpacking.
Header NameByte SizeOffset RangePrimary Purpose
Generic File Information7680–767File metadata (version, offsets, timestamps)
Image Information640768–1,407Image structure (orientation, dimensions, elements)
Image Source Information2561,408–1,663Source capture details ( type, frame ID)
Information2561,664–1,919Motion picture specifics (edge code, shutter angle)
Information1281,920–2,047Video timing and sampling (timecode, rates)
This table illustrates the fixed allocation of the 2,048-byte header space, with each component's layout designed for efficient, error-resistant reading in software.

Image Data Encoding

The image data section in DPX files immediately follows the header components, consisting of raw binary data arranged in a raster format without any inter-frame compression, ensuring each file represents a single frame independently. This data supports bit depths of 1, 8, 10, 12, 16 bits for integers (signed or unsigned) and 32- or 64-bit IEEE floating-point per channel, accommodating high-fidelity storage for motion picture applications. The format is inherently lossless, resulting in large file sizes—e.g., approximately 12 MB for a 10-bit RGB frame at 2048×1080 resolution, varying with bit depth, channels, and any compression—which reflects its design for uncompressed or minimally compressed archival quality. DPX employs various encoding types to represent values, including logarithmic encoding (often 10-bit for compatibility with legacy workflows), linear encoding, and IEEE floating-point formats, allowing flexibility for different production pipelines. Color models are primarily RGB or RGBA, with support for multi-channel layouts such as or user-defined configurations, enabling up to eight elements per file where each element can contain one or more components. These encodings are specified through header fields that precede the data, but the actual payload is packed as binary samples without further transformation. Central to the encoding are the element descriptor bytes within each image element header, which define the data's properties including (via a flag), component description (e.g., 0x50 for RGB), and packing method. For instance, a 10-bit unsigned logarithmic encoding might use a bits-per-element value of 0x0A (indicating 10 bits) combined with a transfer characteristic code of 0x01 (printing density, a aligned with standards). Packing typically aligns data into 32-bit words for efficiency; for RGBA at 8 bits per channel, this yields exactly 32 bits per , while lower-bit-depth data like 10-bit RGB uses bits (preceding in Method A, the standard approach) to fill the word without altering values. Although is permitted for intra-frame compression, it is rarely applied in practice, preserving the format's emphasis on direct, unaltered access.

Metadata and Standards

Core Metadata Elements

The core metadata elements in Digital Picture Exchange (DPX) files are primarily housed within the generic header, which encompasses both file information and orientation details to ensure across systems. The Federal Agencies Digital Guidelines Initiative (FADGI) interprets SMPTE ST 268M as requiring 15 mandatory core fields for essential descriptive data and proper interpretation and processing. These fields facilitate the accurate rendering of images by specifying fundamental attributes such as file structure basics (e.g., magic number, version, and total size) and parameters (e.g., orientation, pixels per line, and lines per element). Key fields among these core elements include the image creation date and time, recorded in format (e.g., "yyyy:mm:dd:hh:mm:ssLTZ") to the file's origin. Optional headers provide additional details, such as the input device in the Image Source Information header (an ASCII string that uniquely identifies the scanning or capture hardware) and the field in the File Information header (a textual statement on usage rights). Resolution details such as X offset and Y offset, also in the Image Source Information header, define and line positioning relative to the original image frame, enabling precise framing adjustments during workflows. These elements collectively support and legal compliance without relying on separate documentation. Color-related metadata is integral to the core fields, particularly through the colorimetric specification, which uses chromaticity coordinates aligned with standards like ITU-R BT.709 to define the color space for accurate reproduction. The optical path identifier, specified via the descriptor field (e.g., codes for RGB or YCbCr paths), indicates the signal routing and component structure, while the transfer characteristic field outlines the amplitude encoding (e.g., linear or logarithmic) to guide display calibration. Although gamma values are typically handled in optional headers like the television information section (defaulting to 2.2 for NTSC compatibility), the core color fields ensure consistent interpretation across diverse display environments. By embedding these metadata elements directly in the header—detailed further in the header components section—the DPX format enables automated workflows in , allowing systems to track frame lineage, processing history, and interchange compatibility via mappings to standards like SMPTE RP 210 without external files. This self-contained approach minimizes errors in high-volume image exchanges, such as in archiving or pipelines, where rapid, reliable metadata parsing is critical.

Version Flexibility and Extensions

The Digital Picture Exchange (DPX) format ensures between its primary versions by maintaining a consistent core structure while allowing evolution through designated version fields. Files from both Version 1.0 (SMPTE ST 268M-1994) and (SMPTE ST 268M-2003) use the same magic number identifiers—"SDPX" for big-endian byte order or "XPDS" for little-endian—to determine file orientation, with the specific version distinguished by the version field ("V1.0" or "V2.0") in the file information header. This design permits readers to process Version 1.0 files by focusing on core fields, while introduces enhancements like expanded image element support without breaking legacy compatibility. The standard has since been revised as SMPTE ST 268-1:2014 (core format) and extended in SMPTE ST 268-2:2023 for (HDR) and wide color gamut (WCG) support, mapping data from SMPTE ST 2084 and ST 2094 while preserving . DPX accommodates extensions through dedicated user-defined data sections, enabling proprietary or application-specific information without altering the standard core. The user private area, following a 32-byte user ID field, supports variable-length custom data up to a maximum of 1 (1,048,576 bytes), allowing vendors to embed processing logs, timestamps, or other metadata as needed. For instance, support for Academy Density Exchange Encoding (ADX, per SMPTE ST 2065-3) is added via Amendment 1 to SMPTE ST 268M (2012), facilitating ACES-compatible workflows for film density measurements through custom headers in the user-defined section. The format's flexibility extends to image encoding parameters, including support for varied bit depths such as 8-, 10-, 12-, and 16-bit integer (with 16-bit and floating-point options introduced in ) to handle high-dynamic-range content. Non-standard s are permitted via user-defined component descriptors (e.g., values 150–156 in the table), enabling adaptations for specialized workflows while adhering to SMPTE guidelines for . To promote future-proofing, DPX employs a flexible model where compliant readers must process mandatory core metadata elements—such as those in the image information header—but are required to ignore or skip unknown or reserved fields, ensuring robustness against extensions or future standard updates. This approach minimizes compatibility issues in mixed-version environments, though it relies on implementers to validate core fields for full adherence.

Applications and Implementation

Role in Film Post-Production

The Digital Picture Exchange (DPX) format serves as a primary medium for storing scanned frames from 35mm film negatives, enabling high-fidelity digital processing in pipelines. This application is central to workflows, where DPX files facilitate , integration, and without introducing compression artifacts. For instance, in the 2000 O Brother, Where Art Thou?, DPX files output from a Spirit DataCine scanner were used throughout the entire process, marking one of the earliest full-scale implementations for a major theatrical release. In professional film workflows, sequences of DPX files are employed to handle frame-by-frame animation and effects, preserving the original 's dynamic range through support for logarithmic encoding and bit depths up to 16 bits per channel. This allows to occur in a environment, maintaining latitude for adjustments without quality degradation, which is essential for achieving the intended aesthetic in final mastering. The format's pixel-based structure supports seamless integration across stages, from initial scanning to effects compositing. DPX adoption accelerated in the amid the broader transition to , as studios shifted from photochemical to digital to enable more efficient handling of high-resolution imagery. Institutions such as the have incorporated DPX into their archiving practices for preserving scanned motion picture film, leveraging its lossless nature for long-term of materials. As a standardized format, DPX promotes vendor-neutral exchange between scanning facilities, houses, and mastering operations, ensuring compatibility and reducing lock-in in collaborative pipelines. This has made it a staple in professional environments where diverse tools and teams must interoperate on large-scale projects.

Software and Hardware Support

Several professional software applications provide native support for importing and exporting DPX files, enabling seamless integration into and workflows. The Foundry's Nuke, a leading tool, supports reading and writing DPX files among a wide range of 2D formats, preserving high bit-depth data for VFX tasks. allows direct import of DPX files as individual frames or sequences, with export capabilities that maintain the format's logarithmic color encoding and bit depths up to 16-bit. Similarly, Blackmagic Design's offers comprehensive DPX support for import, playback, and export, including 8-bit to 16-bit RGB, RGBA, grayscale, and half-float variants across resolutions like 2K and 4K. SideFX Houdini integrates DPX handling through its use of the OpenImageIO library, which provides robust read/write functionality for DPX in procedural 3D environments. Open-source libraries such as OpenImageIO further extend DPX compatibility, offering a format-agnostic for developers to incorporate into custom tools or pipelines, with built-in plugins for DPX input/output that handle various channel configurations and bit depths. Hardware support for DPX centers on devices involved in film digitization and playback within professional setups. Film scanners like the ARRISCAN XT output high-resolution DPX sequences, capturing 16-bit log-encoded RGB data from 8mm to 65mm at up to 6K resolution, with options to embed metadata such as IR passes directly into the files. For display, digital cinema projectors such as CineLife+ series support high-fidelity playback in 2K and 4K when DPX sequences are converted to DCP by compatible media servers for review and projection in controlled environments. As of , DPX remains a staple in most VFX pipelines for 2K and 4K intermediates, particularly for scanned dailies and effects plates, due to its uncompressed nature and metadata richness that facilitate and . Consumer tools like offer native DPX support for opening, editing, and exporting individual images while preserving bit depths. Conversion tools like FFmpeg provide for DPX, supporting read/write operations with configurable pixel formats (e.g., rgb48 for 16-bit) and bit-depth handling during to formats like EXR or ProRes; however, native handling in specialized software is preferred to avoid potential losses in or precision during conversion.

Comparisons and Limitations

Relation to Similar Formats

The Digital Picture Exchange (DPX) format evolved directly from Kodak's (.CIN) format, which was introduced in the early for digital . Both formats share a core 10-bit logarithmic encoding scheme to preserve the density range of scanned negatives, enabling accurate representation of print characteristics. However, DPX was developed as an extension by the Society of Motion Picture and Television Engineers (SMPTE), incorporating standardized headers for enhanced metadata support, such as image orientation, , and timestamp information, which were absent or limited in . Unlike the proprietary format, maintained solely by and phased out by 1997, DPX became an open ANSI/SMPTE standard (ST 268:1994), promoting broader and flexibility in workflows. In contrast to OpenEXR (EXR), developed by (ILM) and publicly released in 2003, DPX operates on a frame-per-file basis with optional , making it suitable for high-fidelity storage of individual scanned frames. , however, supports multi-part files, arbitrary layers for multiple image channels (e.g., RGBA and custom passes), and options like PIZ, which are tailored for complex (VFX) and rendering. While DPX predates — with its initial SMPTE standardization in 1994—both formats are staples in Hollywood pipelines, though DPX is particularly favored for archiving scanned film originals and traditional digital intermediates due to its simplicity and fidelity to analog sources. excels in VFX-heavy productions requiring and linear workflows. DPX serves as a bridge between analog digitization and digital , encoding each frame as a standalone file to mimic the physical structure of motion picture , unlike general-purpose sequence formats such as , which lack DPX's specialized headers for motion picture metadata and logarithmic encoding optimized for . This design facilitates seamless exchange in scanning and recording processes, emphasizing preservation over the multi-channel extensibility found in formats like .

Advantages and Challenges

The Digital Picture Exchange (DPX) format offers several key advantages in professional imaging workflows, primarily due to its emphasis on fidelity and interoperability. As a lossless format that can be used uncompressed or with optional lossless compression, DPX preserves the original image data, including subtle details like film grain, making it ideal for high-end post-production tasks such as visual effects and color grading where any data loss could compromise artistic intent. Its standardization under SMPTE ST 268 ensures reliable exchange across facilities and software, with broad adoption in industries like film and television for consistent handling of pixel-based images. Additionally, DPX supports high bit-depths of up to 16 bits per channel, enabling workflows in high dynamic range (HDR) environments by accommodating wide color gamuts and precise tonal reproduction without introducing artifacts. Despite these strengths, DPX presents notable challenges related to resource demands and practicality. The optional compression results in potentially large file sizes—for instance, a single 4K UHD frame can exceed 50 MB when uncompressed—straining storage systems and bandwidth, particularly for sequences involving thousands of frames. Furthermore, lacking support for multi-frame encapsulation, each image must be stored as a separate file, complicating management and increasing the risk of errors in handling extended sequences. In 2025, these challenges are amplified by the industry's shift toward cloud-based workflows, which increasingly favor compressed formats for efficient remote collaboration and scalable storage, though DPX's advantages in archival stability endure due to its uncompressed nature and robust metadata support for long-term preservation. Overall, DPX strikes a balance between uncompromised image fidelity and structural simplicity, but it necessitates robust infrastructure to manage the demands of large-scale sequences effectively.

References

  1. https://www.loc.gov/preservation/digital/formats/fdd/fdd000178.shtml
  2. http://www.simplesystems.org/users/bfriesen/dpx/S268M_Revised.pdf
  3. https://www.kodak.com/content/products-brochures/Film/kodak-essential-reference-guide-for-filmmakers.pdf
  4. https://www.canada.ca/en/heritage-information-network/services/digital-preservation/recommendations-file-format.html
  5. https://onlinelibrary.wiley.com/doi/full/10.1002/col.22946
  6. https://www.digitizationguidelines.gov/guidelines/AMIA-DPXPoster-2016.pdf
  7. https://standards.smpte.org/content/ST%20268-1:2014/1
  8. https://www.smpte.org/standards/document/ST%20268-2:2023
  9. https://www.fileformat.info/format/dpx/egff.htm
  10. https://www.digitizationguidelines.gov/audio-visual/documents/DPX_Embed_Guideline_20161216.pdf
  11. http://www.graphicsmagick.org/motion-picture.html
  12. https://www.smpte.org/standards/recently-updated-documents
  13. https://reference.globalspec.com/standard/11004582/st-268-2003-am1-2012
  14. https://en-academic.com/dic.nsf/enwiki/11616194
  15. https://www.gammaraydigital.com/resources/guides/what-file-format-should-i-scan-my-film
  16. https://blogs.loc.gov/thesignal/2016/12/new-fadgi-guidelines-for-embedded-metadata-in-dpx-files/
  17. https://www.foundry.com/products/nuke-family/nuke/features
  18. https://helpx.adobe.com/after-effects/using/preparing-importing-still-images.html
  19. https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_18_Supported_Codec_List.pdf
  20. https://www.sidefx.com/docs/houdini/nodes/top/openimageio.html
  21. https://openimageio.readthedocs.io/en/latest/builtinplugins.html
  22. https://www.arri.com/en/applications/archive-technologies/arriscan-xt
  23. https://www.christiedigital.com/products/cinema/projection/cinelife-plus-series/
  24. https://partnerhelp.netflixstudios.com/hc/en-us/articles/21668717059475-Situational-VFX-Delivery-Specifications
  25. https://www.adobe.com/creativecloud/file-types/image/raster/dpx-file.html
  26. https://trac.ffmpeg.org/wiki/Encode/VFX
  27. https://www.fxguide.com/fxfeatured/the-art-of-digital-color/
  28. https://massive.io/file-transfer/what-are-dpx-files-and-why-are-they-so-heavy/
  29. https://www.raysync.io/news/dpx-file/
  30. https://elements.tv/blog/bulletproof-solution-for-4k-hdr-framestack-workflows/
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