Contact:

Jan Froehlich is Senior Image Scientist at Arnold & Richter Cinetechnik GmbH & Co. Betriebs KG (ARRI) Munich. He recently submitted his PhD on high dynamic range (HDR) and wide color gamut (WCG) imaging. During his PhD he worked for Dolby Laboratories contributing to the development of the ITU Rec.2100 ICtCp color encoding and the Dolby Vision HDR and WCG content distribution platform. Before starting the PhD he was Technical Director at CinePostproduction GmbH in Germany. Jan is member of SMPTE, IS&T, SPIE, FKTG, and the German Society of Cinematographers (BVK)
Mailing Address:
Jan Froehlich | Stuttgart Media University | Nobelstrasse 10 | 70597 Stuttgart | froehlichj@hdm-stuttgart.de


Selected Publications and Presentations:

Content aware quantization: Requantization of high dynamic range baseband signals based on visual masking by noise and texture
Jan Fröhlich, Guan-Ming Su, Scott Daly, Andreas Schilling, Bernd Eberhardt
2016 IEEE International Conference on Image Processing (ICIP), Phoenix (AZ), September 2016
[PDF], [Conference Website], [BibTeX], [Slides]
Encoding Color Difference Signals for High Dynamic Range and Wide Gamut Imagery
Jan Fröhlich, Timo Kunkel, Robin Atkins, Jaclyn Pytlarz, Scott Daly, Andreas Schilling, Bernd Eberhardt
Color and Imaging Conference 2015, Darmstadt, October 2015
[PDF], [Conference Website], [BibTeX], [Slides], [Abstract]
[Example Implementation in MATLAB and Gamut Plots]
Extended Color Gamut: What Do Artists Need?
Jan Fröhlich, Matt Cowan
Hollywood Post Alliance Tech Retreat 2015, Palm Springs, February 2015
[Abstract], [Conference Website]
Download the wide color gamut demonstration DCP
Description of HDR and WCG Test Sequences Proposed by Stuttgart Media University
Jan Fröhlich, Stefan Grandinetti
ISO/IEC JTC1/SC29/WG11, October 2014, Strasbourg, France
[MPEG Contribution Document], [MPEG meeting website]
Get access to graded HdM-HDR-2014 MPEG teaser
Creating cinematic wide gamut HDR-video for the evaluation of tone mapping operators and HDR-displays
Jan Fröhlich, Stefan Grandinetti, Bernd Eberhardt, Simon Walter, Andreas Schilling, Harald Brendel
SPIE Electronic Imaging 2014, San Francisco, February 2014
[PDF], [DOI], [BibTeX], [Slides]
Download the reconstucted original HDR camera data
Gamut Mapping for Digital Cinema
Jan Fröhlich, Andreas Schilling, Bernd Eberhardt
SMPTE 2013 Annual Technical Conference, Los Angeles, October 2013
[PDF], [DOI], [BibTeX], [Slides]
Download Gamut Mapping LUTs for all presented Algortihms
Was bleibt? Nachhaltigkeit der Kultur in der digitalen Welt
Paul Klimpel, Jürgen Keiper, Tobias Beinert, Armin Straube, Stefan Wolf, Eric Steinhauer, Maik Stührenberg, Ralph Giebel, Andreas Lange, Jan Fröhlich, Kathrin Passig, Stefan Willer, Felix Sasaki, Stefan Gradmann, Jens Best, Michael Hollmann, Jens Crueger, Georg Rehm
Internet & Gesellschaft Co:llaboratory e.V., Berlin, September 2013
[read online (External Link)]
The CineSave Project: Long-Term Preservation of Digital Productions
Christoph Voges, Jan Fröhlich
Archiving 2012, Copenhagen, Denmark, June 2012, pp. 75-79
[PDF (External Link)]
Project Website
Filmerbe - Archivierung und Digitalisierung
Jan Fröhlich, Christine Grieb
Ausschuss für Kultur und Medien - 49. Sitzung, Öffentliches Fachgespräch zum Thema Filmerbe - Archivierung und Digitalisierung, 09.11.2011, Berlin
[PDF (External Link)]
Protokoll
VTFF Website
Media Hash List (MHL) Format Improving Data Integrity in Digital Cinematography
Patrick Renner, Gregor Baumert, Michael Hackl, Jan Fröhlich, Sabine Wax, Peter Hinterseer, Andreas Minuth, Alexander Sahm
The 2011 Annual Technical Conference & Exhibition, October 25-27, 2011, Hollywood
[PDF (External Link)]
Project Website
Long-Term Storage of Digital Data on Cinematographic Film
Christoph Voges, Jan Fröhlich, Tim Fingscheidt
Archiving 2011, Salt Lake City, Utah; May 2011, pp. 158-161
[PDF (External Link)]
Project Website
Digital Lab in Europe - The Situation Today and Tomorrow
Jan Fröhlich, Markus Bäuerle,
SMPTE Motion Imaging Journal 2008, 117:49-54
[PDF (External Link)]


Selected Productions:

Animals United
Production Company: Constantin Film Produktion GmbH
Producer: Reinhard Klooss
Directors: Reinhard Klooss, Holger Tappe
My Contribution:
Animals United was Europe's first animated stereoscopic feature film. I built the stereoscopic postproduction pipeline together with Daniele Siragusano and paved the way for the stereoscopic digital cinema release by educating German cinema owners and projectionists about how to prevent ghosting, hot-spot, wrong colorimetry caused by tinted 3D-glasses and eye-strain by cropped floating windows.
Website
IMDB
Jane's Journey
Production Company: NEOS Film
Producer: Philipp Schall, Philipp Wundt, Michael Halberstadt
Director: Lorenz Knauer
DoP: Richard Ladkani
My Contribution:
Together with Richard Ladkani I evaluated different cameras for the shoot and optimised their settings for filmrecording and cinema release.
Website
IMDB
Nanga Parbat
Production Company: Perathon Film-und Fernsehproduktions GmbH
Producer: Joseph Vilsmaier, Jörg A.L. Schallehn
Director: Joseph Vilsmaier
DoP: Joseph Vilsmaier
My Contribution:
The film Nanga Parbat consists of a variety of materials, including 65mm and 35mm film, private still slides from Reinhold Messner and digital camera footage. We adjusted the different materials to match each other in texture and color. Blacksail Pictures animated stills for better integration with moving pictures and did the greenscreen shots.
Website
IMDB
Männerherzen
Production Company: Wiedemann & Berg Filmproduktion GmbH & Co. KG
Producers: Max Wiedemann, Quirin Berg
Director: Simon Verhoeven
DoP: Jo Heim
My Contribution:
I introduced an optimized degrain-pipeline to deal with high glossy available light shots.
Website
IMDB
Lulu und Jimi
Production Company: X Filme Creative Pool GmbH
Producer: Gabriela Sperl
Director: Oskar Roehler
DoP: Wedigo von Schultzendorff
My Contribution:
I set up a nondestructive VFX color pipeline with 100+ shots using PNG-LUTs. Robert Zeltsch from Exozet coded a fusion plug-in to support PNG-LUTs. VFX-pregrading was done very late in the production pipeline. It took only two hours from the moment the DoP left the grading theatre until ~80.000 PNG-LUTs were transferred from Munich to Berlin to enable the VFX-department to work with the graded shots.
Website
IMDB
Impy's Island
Production Company: Bavaria Pictures
Producer: Reinhard Klooss
Directors: Reinhard Klooss, Holger Tappe
My Contribution:
I advanced CinePostproduction's color management system to preserve the saturated colors in filmrecording. Together with XDC we encoded one of the first extended color MPEG2 MXF-Interop DCPs in Europe. A special PCF file was autoloaded to enhace colors beyond ITU Rec.709 but was still backward compatible to player-projector combinations ignoring custom PCF-files.
IMDB
The Lives of Others
Production Company: Wiedemann & Berg Filmproduktion GmbH & Co. KG
Producers: Max Wiedemann, Quirin Berg
Director: Florian Henckel von Donnersmarck
DoP: Hagen Bogdanski
My Contribution:
To preserve the analogue look we recorded masks in 4K-resolution with an ARRILASER filmrecorder on high contrast film. All titles and effects were then combined traditionally with an oxberry optical printer.
Website
IMDB
Die wilden Hühner
Production Company: Bavaria Filmverleih- und Produktions GmbH
Producers: Uschi Reich, Peter Zenk
Director: Vivian Naefe
DoP: Peter Döttling
My Contribution:
When digital intermediate was still in its infancy in Germany, I developed a scanning and recording pipeline using Spirit Datacine and Arrilaser. Insert excerpts were indistinguishable from original shots in the final prints.
Website
IMDB