![]() ![]() ![]() So filmmakers face a problem here: the captured footage must pass through many hands, departments and workstations before the final video can be delivered. The downside, however, is that screens used to display the resulting video cannot handle the high fidelity and dynamic range in most cases, so the footage will look different on these devices. The fact that more recent cameras can capture images of stunning quality in terms of both image fidelity and dynamic range is great. More specifically, they all revolve around the question of how to ensure that what filmmakers see on set looks exactly like what the audience will see on their TV/tablet or in the cinema. Modern filmmakers have to deal with myriads of strange (and rather technical) terms like color space, log formats, LUT, ACES, REC.709, color-managed workflow or HDR… all these terms may sound familiar and all these terms relate to one common thing: Color. ![]() Lifelong learning is the goal here I would say. I am by no means a professional color scientist, so I am grateful that Pawel came forward to set the record straight. The passages in bold are quotes from Pawel. Nevertheless, I leave the article in its original form to keep it in context. UPDATE 2: I have now augmented the problematic passages with statements from Pawel Achtel ACS, who originally pointed out that things are quite different from what is shown in the video below. ![]() Sorry for the inconvenience, we are all here to learn. I will amend the relevant passages once I have a full handle on things. UPDATE: Please read the comments on this article, as there seems to be a problem with some of the content of the video this article is based on. Netflix has released an easy-to-understand 7-minute video on the basics of color management workflows to help us out. But hardly anyone really understands the inner workings, let alone the need to implement such a workflow properly.
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