Hi Andrew, There were a lot of people with ICC experience working on that spec, so it was well known in the community. Adobe had input from Lars Borg specifically. The color space is NOT the central point of ANY workflow, it's just a color space. As Lars pointed out, there is no rendering in the data so images would appear really, really bad without a great deal of post processing. The goal was to provide a mechanism to un-build various input data, be it scanned film or digital input, into an unambiguous space that could then be re-rendered for particular output intents. The re-rendering process typically includes a reference rendering step that imparts a basic "look" to the data. This is then taken through another transform for a particular device. The process is complicated because of the "dinosaur in the field" problem. There is a need to generate CGI on film or digital media capture and it is very difficult to do if that data is rendered in some unknown fashion. This is a very complex workflow that requires highly technical support at all levels in the imaging chain. There is also a Digital Rights management encoding which would really complicate the workflow of most photographers. As a side note, Adobe has introduced floating point tag structures into the ICC profile spec and they have introduced an ADOBE DNG for the video world and the next generation of ICC methodologies will probably be floating point based as well. The big problem is maintaining continuity in the market so the professional users aren't blind-sided by interoperability issues. I don't like to be a "buzz kill", but I do worry when folks latch on to the next great thing (remember WCS?) and push for general adoption of specific technologies into existing technologies without understanding the intent of the specific technology. The photo community did get some benefits from that interaction that already exist in quiet way in some Adobe products. The Academy welcomed a wide range of inputs into the process and I think that the system will be very long lived and support motion pictures for the next century at a minimum. Regards, Tom -----Original Message----- From: colorsync-users-bounces+tlianza=xrite.com@lists.apple.com [mailto:colorsync-users-bounces+tlianza=xrite.com@lists.apple.com] On Behalf Of Andrew Rodney Sent: Friday, January 27, 2012 10:05 AM To: ColorSync List Subject: Re: IIF/ACES colorspace for video? Thanks for the reality check and specifics on this new color space Tom. Makes sense why it isn’t appropriate for the photo market. It also points out the value of this list. Or how when we read comments from folks who don’t know what they are taking about then make extreme editorial statements, our BS detector needs to be employed** Andrew Rodney http://www.digitaldog.net/
**Quote: “This color space, and the physics and logic behind it, are what we should be using these days; and products like LightRoom and CaptureOne should be able to produce and use it directly. We need to move beyond the dark ages of color management and image interchange standards. Whatever pressure we or the APA can apply to those software vendors, we should."
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