RE: IIF/ACES colorspace for video?
RE: IIF/ACES colorspace for video?
- Subject: RE: IIF/ACES colorspace for video?
- From: Chris Thomas <email@hidden>
- Date: Fri, 27 Jan 2012 15:05:50 -0800
Thank You Thomas!
Thank you for your clear explanation....
Chris Thomas-
Photographer
email@hidden
In Vancouver-604-649-5352
In North America-1-800-870-5110
email@hidden
http://www.christhomas.com
-----Original Message-----
From: colorsync-users-bounces+chris=email@hidden [mailto:colorsync-users-bounces+chris=email@hidden] On Behalf Of Thomas Lianza
Sent: Friday, January 27, 2012 6:52 AM
To: Dennis Dunbar; email@hidden
Subject: RE: IIF/ACES colorspace for video?
As someone who worked on the initial ACES work, I would emphasize that this is probably not suitable for general digital photography. There is an entire infrastructure that surrounds ACES that involves many different type of transforms and many steps in the workflow. I wouldn't try to apply the logic behind this color space to digital photography because the basic reasoning for the space goes well beyond any of the needs of digital photography. There are transforms which unfold devices into ACES and a Reference Rendering Transform which aids in putting a "film " look into the data on output from ACES. The uses of ACES for video is really aimed at re-rendering of film recorded media to other video standards. The use of ACES within a strictly video workflow is not warranted nor necessarily even possible. It certainly won't have any cost or quality benefits.
I will point out that far more research went into the RIMM/ROMM specification (ProPhotoRGB) than has gone into ACES up until this point and that research was aimed directly image reproduction at much higher luminances than ACES which essentially assumes a very dark theater environment.
The reason that this work is unknown by photographers is because it is carefully aimed in technological areas that don't apply to general photography and it has been crafted towards the cinema and special effects world. The huge dynamic range and gamut exceed any real world environment and they have been built to accommodate film transform which can expand the gamut far greater than the original scene gamut. The gamut compression required to get an ACES image onto paper is huge and is probably only capable of being handled with floating point data and floating point transforms.
The ACES white point is not really D60, it is correlated to D60 but it will appear very greenish to most photographers.
I'm not sure the mechanism used to transfer data in motion picture and CGI industries that create images with the intent of dark viewing conditions and extreme gamut requirements, is a good match to the imaging requirements found in most photographic applications today.
Regards,
Tom
snip
_______________________________________________
Do not post admin requests to the list. They will be ignored.
Colorsync-users mailing list (email@hidden)
Help/Unsubscribe/Update your Subscription:
This email sent to email@hidden