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ACEScg: A Common Color Encoding for Visual Effects Applications - DigiPro 2015

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A presentation from DigiPro 2015 on ACEScg: A Common Color Encoding for Visual Effects Applications.

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ACEScg: A Common Color Encoding for Visual Effects Applications - DigiPro 2015

  1. 1.  ACEScg: A Common Color Encoding for Visual Effects Applications Haarm-Pieter Duiker Duiker Research Alexander Forsythe The Academy Scott Dyer The Academy Ray Feeney RFX Will McCown Consultant Jim Houston Starwatcher Digital Andy Maltz The Academy Doug Walker Autodesk
  2. 2. ACES Background • The Academy Color Encoding System, ACES, is a free, open, device-independent color management and image interchange system • Intended to address the loss of underlying standards in the film to digital transition • Developed by hundreds of the industry’s top scientists, engineers, cinematographers, colorists, visual effects artists, and other motion picture creatives working together under the auspices of the Academy of Motion Picture Arts and Sciences. • ACES 1.0 is the first production-ready release of the system, the result of over 10 years of research, testing and field trials.
  3. 3. Basic ACES system
  4. 4. Input Transforms
  5. 5. Output Transforms
  6. 6. Look Transforms
  7. 7. The ACES2065 encoding: wide gamut HDR • Preserve the full spectrum of visible HDR colors using RGB primaries • D60 white point can be transformed to hit D65, D50, DCI • Provide rigorous specification for encoding and storage of color data
  8. 8. The ACES2065 encoding: feedback • Great for capturing full range of camera and CG data • Gamut too wide for practical use • Not artist friendly • Hard to interpret • Too many imaginary colors in gamut
  9. 9. ACEScg • Preserve the full spectrum of visible HDR colors using RGB primaries • D60 white point can be transformed to hit D65, D50, DCI • Provide rigorous specification for encoding of color data • And… • More artist friendly
  10. 10. ACEScg: More artist friendly • Color correction controls closer to artists’ expectation, produce smoother transitions • Fewer choices result in imaginary colors • More efficient use of gamut ACES colorwheel ACEScg colorwheel
  11. 11. ACEScg: Pointer’s Gamut Coverage Gamut % Coverage ACES2065-1 100.00 S-Gamut3 100.00 ALEXA Wide Gamut RGB 99.9979120 ACEScg 99.9905787 S-Gamut3.Cine 99.9755033 Rec.2020 99.9635339 DCI-P3 88.2782774 Rec. 709 81.1674568 Source: Thomas Mansencal, http://colour-science.org/
  12. 12. Camera encoding gamuts Alexa Wide Gamut Canon Cinema Gamut RED DRAGONcolor RED DRAGONcolor2 RED REDcolor RED REDcolor2 RED REDcolor3 Sony S-Gamut3 Sony S-Gamut3.Cine Panasonic V-Gamut
  13. 13. The multi-gamut world: camera encodings • a lot of camera encoding gamuts • Many use imaginary primaries • ACEScg allows for the encoding of the majority of the visible spectrum
  14. 14. Display gamuts DCI P3 Rec.709 Rec. 2020
  15. 15. ACEScg: Display gamut coverage
  16. 16. The multi-gamut world: display gamuts • Multiple display gamuts • More on the way with new displays • ACEScg is a superset of the main existing standards
  17. 17. Concerns: Primaries don’t match the display • Most productions deliver masters for multiple classes of displays, with multiple sets of primaries
  18. 18. Concerns: Imaginary Primaries • Imaginary, but only just • Many gamuts use imaginary primaries • Needed to encompass Rec.2020 and P3
  19. 19. Concerns: Negative Values • Negative values from two main sources • Linearization transfer functions • Out-of-gamut values • Ways to handle negatives • Lean on packages to not clip and educate artists • Heuristics to lift low end values
  20. 20. Concerns: Negative Values Source: Academy’s Next Gen Cinema Test
  21. 21. Concerns: Negative Values Source: Academy’s Next Gen Cinema Test
  22. 22. Concerns: Negative Values
  23. 23. ACEScg in Production Slides not available for public relsese
  24. 24. ACEScg • An artist-friendly color encoding that preserves the full spectrum of visible HDR colors using RGB primaries
  25. 25. Thanks Thanks to all the authors and contributors Special thanks to Nick Cannon Thomas Mansencal / colour-science.org Will McCown Miaoqi Zhu
  26. 26. Questions Sign up for email  oscars.org/aces Twitter  @AcademyACES Questions  acessupport@oscars.org Haarm-Pieter Duiker Duiker Research Alexander Forsythe The Academy Scott Dyer The Academy Ray Feeney RFX Will McCown Consultant Jim Houston Starwatcher Digital Andy Maltz The Academy Doug Walker Autodesk

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