Contents

1 Introduction
 1.1 Intended Audience
 1.2 How to Read this Document
 1.3 The Goal
 1.4 Converging Approaches
 1.5 A General Model of Color Processing
  1.5.1 ACES
 1.6 Color Management Challenges
2 Color Science
 2.1 About Color Science
 2.2 Electromagnetic Spectrum
  2.2.1 Radiometric Quantities of Interest
  2.2.2 Photometric Quantities of Interest
  2.2.3 Spectral Distribution
 2.3 Human Visual System
  2.3.1 The Eye
  2.3.2 Retina
  2.3.3 Photoreceptors
  2.3.4 Dynamic Range
  2.3.5 Adaptation
  2.3.6 Non-Linearity of the HVS
 2.4 Basic Colorimetry
  2.4.1 Origins of Colorimetry
  2.4.2 Blackbody Radiation, Light sources and Illuminants
  2.4.3 Reflectance, Transmittance and Absorptance
  2.4.4 Standard Observers
  2.4.5 CIE XYZ Tristimulus Values and Metamerism
  2.4.6 CIE xyY Color Space and Chromaticity Diagram
  2.4.7 Perceptually Uniform Color Spaces and Color Difference
  2.4.8 Additive RGB Color Spaces
 2.5 Advanced Colorimetry
  2.5.1 Viewing Conditions
  2.5.2 Terminology
  2.5.3 Color Appearance Phenomena
 2.6 Representing Color
  2.6.1 Digital Image - Raster Graphics
  2.6.2 Quantization
  2.6.3 Perceptual Coding
  2.6.4 Floating-Point and Logarithmic Representations
  2.6.5 Gamma
  2.6.6 Color Encodings
 2.7 Color Imaging Systems
  2.7.1 Image Capture
  2.7.2 Signal Processing
  2.7.3 Image Formation
3 Workflow
 3.1 About Workflow
 3.2 Academy Color Encoding System (ACES)
  3.2.1 Input Transforms
  3.2.2 Working Space
  3.2.3 Look Transform
  3.2.4 Output Transform (RRT and ODT)
 3.3 The Look
  3.3.1 Establishing the Look
  3.3.2 Look Management
 3.4 On Set
  3.4.1 Camera profiles
  3.4.2 Monitoring on set
  3.4.3 Editorial
  3.4.4 Digital Imaging Technician (DIT)
  3.4.5 Reference Capture
  3.4.6 HDR Environment Capture
 3.5 Visual Effects, Animation and Games
  3.5.1 Visual Effects
  3.5.2 Animation
  3.5.3 Games
  3.5.4 Texture Painting
  3.5.5 Matte Painting
  3.5.6 Lighting, Shading, and Rendering
 3.6 Compositing
  3.6.1 Scene-Referred Linear is Preferred for Compositing
  3.6.2 Scene-Referred Linear Compositing Challenges
  3.6.3 Negative Values
  3.6.4 Working with Log Imagery
  3.6.5 Plate Timing, Neutralization, and Grading
  3.6.6 Premultiplication
  3.6.7 Technical Checks
 3.7 DI Grading
  3.7.1 Conforming
  3.7.2 Unmanaged Output Referred Grading
  3.7.3 Color Managed Scene Referred Grading
  3.7.4 DI Color Grading
 3.8 Critical Monitoring
  3.8.1 Cinema Projection
  3.8.2 Reference Monitors
  3.8.3 HDR Displays
  3.8.4 Color Management for Mastering
 3.9 Finishing
  3.9.1 Multiple deliverables
 3.10 Archives
  3.10.1 Open Archives Information System (OAIS)
  3.10.2 Archive Elements
4 Appendix
 4.1 Common RGB Color Spaces
  4.1.1 Rec. 709
  4.1.2 BT.1886
  4.1.3 sRGB
  4.1.4 Rec. 2020
  4.1.5 ST 2084 / PQ
  4.1.6 Hybrid Log Gamma (HLG)
  4.1.7 P3 DCI
  4.1.8 P3 D65
  4.1.9 X’Y’Z’
  4.1.10 ALEXA LogC
  4.1.11 Blackmagic Film
  4.1.12 Canon CLog
  4.1.13 GoPro ProTune
  4.1.14 Panasonic V-Log
  4.1.15 RED Log3G10
  4.1.16 Sony SLog
  4.1.17 ACES2065-1
  4.1.18 ACEScg
  4.1.19 ACEScc
  4.1.20 ACEScct
  4.1.21 Cineon
 4.2 OpenColorIO (OCIO)
 4.3 Colour Science for Python
 4.4 LUTs and Transforms
  4.4.1 1D LUTs
  4.4.2 3D LUTs
  4.4.3 Using Shaper LUTs
  4.4.4 Half Float LUTs
  4.4.5 Creating LUTs
  4.4.6 GPU Implementations
 4.5 ASC CDL
 4.6 ACES CTL
 4.7 Full and Legal ranges
  4.7.1 Legal Range
  4.7.2 Full Range
 4.8 Color Difference Encoding
 4.9 Camera Characterization
 4.10 File Formats
  4.10.1 DPX
  4.10.2 EXR
 4.11 Color Matching Experiments
 4.12 Grassmann’s Law of Additive Color Mixture
 4.13 Software
  4.13.1 Open Source Software
  4.13.2 Commercial Software
 4.14 Acknowledgements
5 Glossary