The 2016 Annual Technical Conference and Exhibition show for SMPTE100 is packed full of conferences and this one is a sure best in class! Today on the ticket is a wide assortment, but we wanted to concentrate on Color Managment 1& 2! See below for details. *Provided by SMPTE
Color Management 1 - Salon 2
A Cinematographic Spectral Similarity Index; Speakers Paul Debevec, Jack Holm, and George Joblove
*As solid state lighting (SSL) sources have gradually replaced tungsten sources, new challenges in color rendition have emerged. CRI is often quoted for sources but is limited to a human observer, without purporting to predict potential color differences for cameras. A new color index is proposed that is based upon the similarity of a luminaire's spectrum to a reference spectrum that eliminates the need for any assumption of a specific observer or camera spectral sensitivity. The index yields a "confidence factor," where a high score implies predictable color rendition for cinematography, and a moderate score implies possible color rendition challenges. 11:30-12pm pst
Color Management 2 - Tone and Color Management
Tone and Color Management-The Art and Science of Preserving and Enhancing Creative Intent; Session Chair Arjun Ramamurthy (20th Century Fox, USA)
*Do all displays match the reference Master display? Possibly, but in a lot of cases probably not. What happens when we look at High Dynamic Range? Do we expect large variations there? If there are large variations, what considerations should we keep in mind so that we can preserve Creative Intent, and provide the correct guidance to our colorists and creative talent to explore the greater pallet offered in High Dynamic Range?
The papers in this session present both the Technical side and the Artistic side of the challenges facing the color management community. We will examine the color adaptations considerations as well as the tonal considerations one needs to keep in mind to account for differences in the displays, and highlights, and examine the Artistic implications of High Dynamic Range Grading and how they differ from Standard Dynamic Range color correction. Additionally, as greater color volumes are available with High Dynamic Range displays, we will look at how schemes that provide mechanisms to take advantage of the greater color gamut.
A Modern Approach to HDR Color Timing; Speakers Richard Kirk, Peter Postma, Daniele Siragusano
*HDR displays and projectors pose new challenges for mastering content while continuing to support traditional TVs and cinema projectors. The traditional workflow of taking images as they come out of the camera and adjusting color corrector knobs until they look good on a display is simply not practical. Nor can a simple LUT compensate for the difference between HDR and SDR displays. Comprehensive color management is needed as a foundation for creative color correction. Color grading controls based on human color perception and scene radiance can then be used to more naturally balance images and impart creative looks that easily translate to different display luminances. This paper summarizes the fundamental color science principals needed for color space conversions between cameras, displays and grading tools and proposes a core set of perceptually based color correction tools, including specific examples of content mastered for SDR and HDR that benefit from this approach. 1:45pm-3:15pm pst
Color Management 2 - Salon 2
Distribution of HDR in an SDR World; Speakers Keith Slavin
*HDR media is possible due to camera dynamic range and logarithmic OETFs. An inverse EOTF gives a linear relation between camera photons and display luminance. Local contrast is thereby preserved. Unfortunately linearity requires more display dynamic range, which increases cost/power (impractical for mobile devices). HDR displays ultimately limit HDR systems, and careful camera setup or tone-mapping is required to avoid display saturation. Sports events need HDR cameras and real-time tone-mapping for uncontrolled scenes.We propose a system for automatically tone-mapping unsaturated HDR down to vivid Rec709, allowing HDR production of "future-proof" end-products - allowing remapping to any viewing device at a later date. Instead of a linear relationship between camera and display, the system takes full advantage of the eye's logarithmic response. It's local contrast that makes viewing enjoyable, not absolute light levels. HDR production and SDR distribution makes practical and economic sense, and HDR production can go main-stream. 2:45pm-3:15pm pst
SMPTE 2016 is the world’s premier forum for the exploration of media and entertainment technology. Find out more about SMPTE at www.smpte.org. SMPTE 2016 includes three days of technical sessions, a high-tech exhibition hall, special events including the annual Awards Ceremony and the SMPTE-HPA Student Film Festival, plus a pre-conference Symposium, bringing you unparalleled opportunities for professional development, relationship building, and “mind sharing.” Presenters and attendees include world-renowned technology thought-leaders.
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#SMPTE2016 Hot Conference Program: Afternoon Session-Color Management 1&2! (Oct. 25th)
Matt Harchick
Contributor
The 2016 Annual Technical Conference and Exhibition show for SMPTE100 is packed full of conferences and this one is a sure best in class! Today on the ticket is a wide assortment, but we wanted to concentrate on Color Managment 1& 2! See below for details. *Provided by SMPTE
Color Management 1 - Salon 2
A Cinematographic Spectral Similarity Index; Speakers Paul Debevec, Jack Holm, and George Joblove
*As solid state lighting (SSL) sources have gradually replaced tungsten sources, new challenges in color rendition have emerged. CRI is often quoted for sources but is limited to a human observer, without purporting to predict potential color differences for cameras. A new color index is proposed that is based upon the similarity of a luminaire's spectrum to a reference spectrum that eliminates the need for any assumption of a specific observer or camera spectral sensitivity. The index yields a "confidence factor," where a high score implies predictable color rendition for cinematography, and a moderate score implies possible color rendition challenges. 11:30-12pm pst
Color Management 2 - Tone and Color Management
Tone and Color Management-The Art and Science of Preserving and Enhancing Creative Intent; Session Chair Arjun Ramamurthy (20th Century Fox, USA)
*Do all displays match the reference Master display? Possibly, but in a lot of cases probably not. What happens when we look at High Dynamic Range? Do we expect large variations there? If there are large variations, what considerations should we keep in mind so that we can preserve Creative Intent, and provide the correct guidance to our colorists and creative talent to explore the greater pallet offered in High Dynamic Range?
The papers in this session present both the Technical side and the Artistic side of the challenges facing the color management community. We will examine the color adaptations considerations as well as the tonal considerations one needs to keep in mind to account for differences in the displays, and highlights, and examine the Artistic implications of High Dynamic Range Grading and how they differ from Standard Dynamic Range color correction. Additionally, as greater color volumes are available with High Dynamic Range displays, we will look at how schemes that provide mechanisms to take advantage of the greater color gamut.
A Modern Approach to HDR Color Timing; Speakers Richard Kirk, Peter Postma, Daniele Siragusano
*HDR displays and projectors pose new challenges for mastering content while continuing to support traditional TVs and cinema projectors. The traditional workflow of taking images as they come out of the camera and adjusting color corrector knobs until they look good on a display is simply not practical. Nor can a simple LUT compensate for the difference between HDR and SDR displays. Comprehensive color management is needed as a foundation for creative color correction. Color grading controls based on human color perception and scene radiance can then be used to more naturally balance images and impart creative looks that easily translate to different display luminances. This paper summarizes the fundamental color science principals needed for color space conversions between cameras, displays and grading tools and proposes a core set of perceptually based color correction tools, including specific examples of content mastered for SDR and HDR that benefit from this approach. 1:45pm-3:15pm pst
Color Management 2 - Salon 2
Distribution of HDR in an SDR World; Speakers Keith Slavin
*HDR media is possible due to camera dynamic range and logarithmic OETFs. An inverse EOTF gives a linear relation between camera photons and display luminance. Local contrast is thereby preserved. Unfortunately linearity requires more display dynamic range, which increases cost/power (impractical for mobile devices). HDR displays ultimately limit HDR systems, and careful camera setup or tone-mapping is required to avoid display saturation. Sports events need HDR cameras and real-time tone-mapping for uncontrolled scenes.We propose a system for automatically tone-mapping unsaturated HDR down to vivid Rec709, allowing HDR production of "future-proof" end-products - allowing remapping to any viewing device at a later date. Instead of a linear relationship between camera and display, the system takes full advantage of the eye's logarithmic response. It's local contrast that makes viewing enjoyable, not absolute light levels. HDR production and SDR distribution makes practical and economic sense, and HDR production can go main-stream. 2:45pm-3:15pm pst
SMPTE 2016 is the world’s premier forum for the exploration of media and entertainment technology. Find out more about SMPTE at www.smpte.org. SMPTE 2016 includes three days of technical sessions, a high-tech exhibition hall, special events including the annual Awards Ceremony and the SMPTE-HPA Student Film Festival, plus a pre-conference Symposium, bringing you unparalleled opportunities for professional development, relationship building, and “mind sharing.” Presenters and attendees include world-renowned technology thought-leaders.
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