College color coding system

The college color coding system is as follows:

ACES will become the industry standard of color management in the future film and television industry. ACES 1.0, as the first generation, has been investigated and tested for more than ten years. In recent years, ACES has also received continuous attention on NAB. However, many practitioners are still unfamiliar with ACES.

In the first part of this paper, according to the arrangement of ACES notes, the principle and specific process of ACES are briefly described. The second part discusses the industry trend of ace.

1, background

The signal received by the camera is linear. For example, the brightness of the lamp is twice that of the wall, so obviously the code value is twice. However, the human eye does not feel twice the brightness visually. Instead, the human eye will naturally form a gamma curve, which will change the way we perceive light.

Similarly, ARRI's LogC, Canon's CLog and Reid's RedLogFilm are all trying to reconstruct this gamma curve. This is largely because the sensors of different cameras are different. For example, making RED shoot more like RED, and Ari shoot more like Ari, which has become the characteristics of various manufacturers.

Different software settings are consistent.

The logic is to match ACES version (ACES ACES hierarchical space. For example, if you set the ACES version number and color space in Resolve, you can choose to be consistent in ExD, Live Grade or other applications.

Input LUT/ output LUT workflow

The goal of ACES is to try to provide a simple color matching process between different cameras to maintain the consistency of color matching work. Therefore, we can color the shooting materials from different cameras in a color space. To achieve this goal, ACES has done the following work:

Collect special gamma curve calculations behind each camera.

When you set the software to ACES mode, it will first remove the gamma curve and return to linear light (that is, the world seen by the camera, not the world seen by the human eye).

When each camera is linear, it is converted to a new color space, that is, the "grading space". There are two main color matching spaces in aces: ACES CCT and ACES CC.

Then color correction and color matching are carried out in this color matching space.

The final output to the display screen (monitor) is converted to the monitoring space again. Such as Rec709, P3 or Rec2020.

2. At present, ACES has gone through four versions: v 1.0, V1,v 1. 1 and V 1.2 (released on April 4, 2020).

ACES 1. 1: for example, the bug-fix of arriids improves the linearization of LogC; And the experimental HDR ODTs was replaced by the new HDR ODTs (with only a little improvement and no substantial change). Any major changes in the output system will be reflected in the future v2.0.

Scott Dyer of ACES team answers version questions:

# Article Update # Update #

ACES 1.2 was released on April 0, 2020.

ACES has become the color management process in the main production process. For example, the color released by Netflix in 18 works as follows:

NAM: ungraded Master of Archives

Master of classified archives

Optimized by ACES team:

In addition, according to the activity videos of ACES in 18 and 19, I sorted out my notes. ACES panel (to be translated).

Personally, I think the Aces panel of 18 International Cinema Y Summit is worth seeing. The video of 19 is an open source panel of NAB (mainly updated) and as mentioned above, the target version of 1.2 has not been released, so we have to wait for NAB on April 6, 2020.