The bottom line is that this color space has been defined by the display technology – the television set.ĪCES is its own color space designed to be independent of the display hardware. 2020, HDR, etc., then you are starting from an already-restricted range of color data. 709 ProResHQ 4:2:2 master file into full RGB, Rec. Therefore, if you later try to convert a Rec. The color gamut is then limited to the Rec. Raw and log recordings are converted into Rec. 709 is the color space and gamma encoding standard that dictates your input, timeline, and exports for most television projects.

To dive into the nuances of ACES – complete with user guides – check out the information at. It’s an open color standard and method of best practices created by filmmakers and color scientists under the auspices of the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (AMPAS, aka “The Academy”). As a result, the Academy Color Encoding System (ACES) was developed as a global standard for managing color workflows. Many cinematographers felt their control of the image slipping away, thanks to the preponderance of color science approaches and LUTs (color look-up tables) generated from a variety of sources and applied in post. Nevertheless, video directors of photography could also rely on knowing that the image they were creating would translate faithfully throughout post-production.Īs video moved deeper into “cinematic” images, raw recording and log encoding became the norm. The advent of the video colorist allowed for more creative looks derived in post. In color television production, up through the early adoption of HD, video cameras likewise adhered to the standards of Rec.

The film stocks, development methods, and printing processes were regimented with specific guidelines and limited variations. In the film days, a cinematographer had a good handle on what the final printed image would look like.

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