1. Introduction to Color Management for Film and TV Igor Riđanović

2. Why color manage in food industry?

3. Why color manage in retail?

4. common source multiple display devices Why color manage in media?

5. correct color interpretation incorrect color interpretation Why color manage in post?

7. What is color management? Perceptually consistent color across a range of devices Consistent color within a pipeline Interoperability

8. Why is color management important in film and TV? Brand identity Protects integrity of creative intent Maintains suspension of disbelief right wrong

10. The nature of light and color

11. Objects and living beings have no color Light energy absorption, reflection and transmission 3D model Copyright © 2003-2013 Andrew Kator & Jennifer Legaz

12. Rods see low light and no color Three type of cones can see color Near logarithmic response to luminance Hans- Werner Hunzik er How do we see light and color?

13. S, M and L cones How do we see light and color?

14. linear light intensity How do we see light and color? perceived brightness perceived brightness doubling light intensity Wolphram|Alpha

15. Additive and subtractive color mixing PkoCantus

16. Color model—an abstract primary color mixing principle Color space—specific values for the primaries Color gamut—unambiguous color set defined by the primaries Color model and color space

17. CIE XYZ(1931) color space CIE xy chromaticity diagram

18. PAR sRGB color space

19. Device independent (example: CIE XYZ) Device dependent (example: Rec. 709) Color space classification

20. Examples: Traditional CMYK press Analog and Digital TV Device dependent color

21. In RGB color model each pixel is represented by the additive mix of its three channels (R + B + G) R 205 G 012 B 005 R 000 G 000 B 000 R 255 G 255 B 255 Device dependent color—numerical representation

22. Bit depth determines color precision 1 bit: fax8 bit: grayscale8 bit per channel: truecolor Device dependent color—numerical representation

23. A bit is a binary numeral representing either “0” or “1” 1 bit: 2 levels 2 bit: 4 levels 10 bit: 1024 levels

24. Values are intrinsically tied to the device R 255 G 255 B 000 sRGB color space (computer monitor) R 255 G 255 B 000 mystery color space (some handheld device) Device dependent color—numerical representation

25. R 205 G 012 B 005 R 205 G 012 B 005 R 205 G 012 B 005 device 1 device 2 source device Device dependent color

26. R ? G ? B ? R 205 G 012 B 005 device 2 source device Device dependent color

27. R 212 G 008 B 010 R 205 G 012 B 005 device 2 source device Device dependent color CMS

28. Device dependent color Color management: Typically translates color values from one device dependent color space to another device dependent color space with respect to gamut, gamma and dynamic range

29. Device dependent color—gamut Rec. 2020 vs. Rec. 709 color gamut GrandDrake

30. Rec. 709 vs. DCI-P3 3D color gamut Device dependent color—gamut

31. Device dependent color—gamma linear gamma2.2 gamma Wolfram|Alpha

32. Device dependent color—dynamic range higher dynamic range lower dynamic range

33. reduced dynamic rangegamma mismatch originalgamut mismatch

34. Case Study: Black and White TV (simplified) subject camera TV set OTA broadcast video

35. Traditional TV color management Single input, single output TV cameraeditorialTV monitor TV camera γ = 0.45 γ = 2.5

36. Contemporary color management requirements 5DeditorialHD monitor film scan Alexa graphics Vimeo DVD QT MOV... VFX delivery...

37. Color management system

38. Rendering intent defines how values are translated from one color gamut to another: Perceptual Saturation Relative colorimetric Absolute colorimetric

39. Color management system Calibration and profiling: Calibration brings device to factory recommended specification Profiling builds a fingerprint of the specific device's differential from a standard color space specification

40. Good news! Color management in most NLEs is much simpler. Color management can be more sophisticated in picture finishing and color correction systems. Sometimes aided by the operating system Can be dependent on user selected LUTs or matrices

41. Transforming the numbers 1D LUT 3D LUT 3X3 matrix R G B 0.034439 0.034439 0.034439 0.034712 0.034712 0.034712 0.034988 0.034988 0.034988 0.035266 0.035266 0.035266 0.035546 0.035546 0.035546 0.035828 0.035828 0.035828... If input R or G or B = 0 Output R or G or B = 0.034439 012345 012345 output valuesinput values

42. Transforming the numbers 1D LUT 3D LUT 3X3 matrix Rec. 709 vs. DCI-P3 3D color gamut

43. Transforming the numbers 1D LUT 3D LUT 3X3 matrix Mathematical transformation. Not as precise as 3D LUT but adequate for many applications.

44. How do popular programs color manage? Media Composer Creative Cloud FCP X

45. How do popular programs color manage? 601/709MC 6.xTV monitor sRGB tape 709 files user choices Rec. 709

46. How do popular programs color manage? 0255 0 235 16 0 mV 16 700 mV superblacksuperwhite

47. How do popular programs color manage? without ditheringwith dithering

48. Recent developments CDL Scene referred linear ACES

49. Special Thanks James Mathers, Digital Cinema Society Matt Feury, Avid Technologies

50. Further reading Fraser, Murphy and Bunting (2005). Real World Color Management. Berkeley: Peachpit Press. Graham, S. (2002). The Science of Imaging: An Introduction. Bristol: IOP Publishing. Bloch, C. (2007). The HDRI Handbook. Santa Barbara: Rocky Nook. Kennel, G. (2007). Color and Mastering for Digital Cinema. Burlington: Focal Press. www.poynton.com www.lightillusion.com This presentation is available for download at HDhead.com.