ACES 1.0: Theory and Practice...ACEScc & ACEScct: film-style spaces for color-grading • Conceived...
Transcript of ACES 1.0: Theory and Practice...ACEScc & ACEScct: film-style spaces for color-grading • Conceived...
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ACES 1.0:Theory and Practice
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ACES 1.0:Theory and PracticeWalter Arrighetti, PhD, CISSP®
CTO, Frame by Frame
Francesco GiardielloDigital Workflow Supervisor | Founder, Kiwii Digital Solutions
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Academy Color Encoding System
• Born in 2004 as IIF (Image Interchange Framework), then name was changed in 2012 to ACES
• Academy effort coveting scientists, engineers and artists from the industry
• Color Management for Media & Entertainment (film & animation)
• Encoding for color data, metadata, file and transport formats.
• System made up of several core components and SMPTE Standards targeting interoperability.
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Up to 2016, over 100 theatrical & TV shows have used ACES,
…with similar figures in commercials & documentaries overall.
Shot on ACES
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Up to 2016, over 100 theatrical & TV shows have used ACES,
…with similar figures in commercials & documentaries overall.
Shot on ACES
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Core Components and Reference
• Specifications:• color encoding and metric specs• file formats’ specs• Color Transformations (in CTL language)• Reference Implementation (open source code)
• Reference Images (+ calibration targets for film scanners/recorders)
• Documentation on software and tools
• ACES Central portal, acescentral.com
• SMPTE Standards’ family ST2065
• AMPAS website, www.oscars.org/aces
• Official GitHub repository, https://github.com/ampas/aces-dev
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ACES Framework at-a-glance
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First Problem Solved by ACES…
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Problem 1: Different Camera Sensitometry
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Before ACES:
Robust and thorough Color Science required before principal photography
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Camera-matching
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Camera-matching
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Postproduction paradigm056 001 V C 04:14:37:24 04:14:38:17 00:03:20:13 00:03:21:06 057 GUERRILL V C 04:12:25:24 04:12:26:16 00:03:21:06 00:03:21:23 058 GUERRILL V C 03:13:18:20 03:13:19:12 00:03:21:23 00:03:22:15 059 GUERRILL V C 06:11:34:16 06:11:35:24 00:03:22:15 00:03:23:23 * FROM CLIP NAME: GUERRILLA EDL33.MOV* COMMENT: FINAL CUT PRO REEL: GUERRILLA EDL REPLACED BY: GUERRILL
from
Editorial
Audio Sync
digital negs.
10~100
TB/movie
raw processing
noise/grain mgmt
Conforming
VFX, CG,
compositing titles & subtitleslocalization
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ACES2065-1(AP0)
ACES2065-1(AP0)
Problem 2: Interoperability in post
titles & subtitleslocalization
Color
Grading
ACEScg(AP1)
raw processing
noise/grain mgmt
ACEScc or ACEScct
(AP1)
VFX, CG,
compositing
Conforming
digital negs.
102~103 TB/movie
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Problem 3: Plethora of Delivery Formats
• Every studio, broadcaster, (S)VoD provider, ad distributor, film archive has its own delivery / archival standards
• This rarely includes uniform color encoding
• Some SMPTE standards (IMF, DCDM) help,• Yet no consistent colorimetry specs existed
• Need to future-proof archived content via an open standard for original looks to be easily reproducible years from now
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Product Partners & Logo programto guarantee interoperability
• Postproduction pipeline should be done with compatible toolsas much as possible (Product Partners’, but not limited to them)
• Product that receive the ACES Logo (in their respectivecategories) are guaranteed to be interoperable with each other
• Adherence to User Experience (UX) Guidelines facilitates lessexperienced / non-technical users (TB-2014-002)
Internal processing in
ACES color spaces.
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ACES Color Management056 001 V C 04:14:37:24 04:14:38:17 00:03:20:13 00:03:21:06 057 GUERRILL V C 04:12:25:24 04:12:26:16 00:03:21:06 00:03:21:23 058 GUERRILL V C 03:13:18:20 03:13:19:12 00:03:21:23 00:03:22:15 059 GUERRILL V C 06:11:34:16 06:11:35:24 00:03:22:15 00:03:23:23 * FROM CLIP NAME: GUERRILLA EDL33.MOV* COMMENT: FINAL CUT PRO REEL: GUERRILLA EDL REPLACED BY: GUERRILL
from
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Entering an ACES pipeline:Input Transform (IDT)
• Academy Procedure for creating Input Transforms(IDT, P-2013-001)
• Manfacturers can supply their IDTs to Academy for inclusion in the Reference Implementation as CTL files, and/or
• Product Partners can integrate IDTs in their logo’edsoftware (e.g. SDKs).
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Entering an ACES pipeline:Input Transform (IDT)
• Academy Procedure for creating Input Transforms(IDT, P-2013-001)
• Manfacturers can supply their IDTs to Academy for inclusion in the Reference Implementation as CTL files, and/or
• Product Partners can integrate IDTs in their logo’edsoftware (e.g. SDKs).
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Out of the ACES pipeline:Output Transforms
• ACES color spaces are nevermeant for viewing (as they are scene-referred).
• Every Output Transform ismade up of:
• a common part, RRT to a «reference viewing environment» in display-referred space
• a device-dependent part, ODT to a specific color space/encoding/gamut and technology
• Output Transform may target diofferent display technologies / lighting environments / maxluminance
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Out of the ACES pipeline:Output Transforms
• ACES color spaces are nevermeant for viewing (as they are scene-referred).
• Every Output Transform ismade up of:
• a common part, RRT to a «reference viewing environment» in display-referred space
• a device-dependent part, ODT to a specific color space/encoding/gamut and technology
• Output Transform may target diofferent display technologies / lighting environments / maxluminance
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ACES Color Spaces
• All based on RGB color-additive model
• Scene-referred colorimetry
• 2 sets of color primaries / whitepoints: AP0 and AP1
• 3 different transfer characteristics: 1 linear, 2 «logarithmic»
• Due to different purposes& costrains
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ACES2065-1 main color space
• Central color space for ACES workflows (ST2065-1, TB-2014-004)
• Uses AP0 primaries
• Radiometrically linear («gamma-1.0»)
• Uses ≥16-bit Floating-point codevalues
• Preferred storage encodings are:• OpenEXR image with mandatory metadata
and special flag (ST2065-4, TB-2014-006)Ideal for frame-per-file sequences
• MXF file container wrapping a sequence of ST2065-4 frames (ST2065-5)Ideal for single-file videos
• Elective format for any kinds of storage, as well as for long-term archival.
CIE X′Y′Z′ color space (used for D-Cinema DCDM) is colorimetric, not scene-referred
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ACEScg for CG applications
• Conceived for modeling, compositing, matte painting, etc. (S-2014-004)
• Uses AP1 primaries for alignment of RGB operators from non-color-managed applications
• Radiometrically linear («gamma-1.0») for lighting applications
• Represented in floating-point arithmetics
• Negative values are allowed as Out-of-Gamut (OoG) codevalues, but notall applications behave well with them
• Designed as working-only space, notfor storage
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ACEScc & ACEScct: film-style spaces for color-grading• Conceived for color correction & grading
operations(S-2014-003 and S-2016-001)
• Use AP1 primaries for more responsecontinuity of grading operators.
• «Log.» characteristic emulates film-printtonecurves:
• ACEScc is a base-2 logarithm,• ACEScct has smoother and higher «toe»
for better emulation of film-look behaviourin the shadows.
• Represented in floating-point arithmetics
• Designed as working-only space, not for storage
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ACEScc & ACEScct: film-style spaces for color-grading• Conceived for color correction & grading
operations(S-2014-003 and S-2016-001)
• Use AP1 primaries for more responsecontinuity of grading operators.
• «Log.» characteristic emulates film-printtonecurves:
• ACEScc is a base-2 logarithm,• ACEScct has smoother and higher «toe»
for better emulation of film-look behaviourin the shadows.
• Represented in floating-point arithmetics
• Designed as working-only space, not for storage
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ACESproxy for color transportinteger-arithmetics channels• Conceived for transport of images via
devices with lower computing capabilities (S-2013-001)
• SDI cables & devices• broadcast / reference monitors• lower-precision LUT boxes
• Use AP1 primaries and the sametonecurve as ACEScc.
• Represented in integer arithmetics(10bits or 12bits per channel)
• Video-legal codevalue range
• Transport-only color space: meant for neither encoding, processing norstoring images
• No «integer»-analogue to ACEScct
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ACESproxy for color transportinteger-arithmetics channels• Conceived for transport of images via
devices with lower computing capabilities (S-2013-001)
• SDI cables & devices• broadcast / reference monitors• lower-precision LUT boxes
• Use AP1 primaries and the sametonecurve as ACEScc.
• Represented in integer arithmetics(10bits or 12bits per channel)
• Video-legal codevalue range
• Transport-only color space: meant for neither encoding, processing norstoring images
• No «integer»-analogue to ACEScct
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Codevalue ranges compared
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ACES Color Pipeline056 001 V C 04:14:37:24 04:14:38:17 00:03:20:13 00:03:21:06 057 GUERRILL V C 04:12:25:24 04:12:26:16 00:03:21:06 00:03:21:23 058 GUERRILL V C 03:13:18:20 03:13:19:12 00:03:21:23 00:03:22:15 059 GUERRILL V C 06:11:34:16 06:11:35:24 00:03:22:15 00:03:23:23 * FROM CLIP NAME: GUERRILLA EDL33.MOV* COMMENT: FINAL CUT PRO REEL: GUERRILLA EDL REPLACED BY: GUERRILL
from
Editorial
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LMT for Creative Color Operations
Every «inter-ACES» color mapping (thus IDT/RRT/ODT are not), applied to the whole image, that is not (just) a color-space conversionbetween the 5 ACES encodings (TB-2014-010)
• Creatively there can be more than one LMT applied to the samescene on top of each other (yet the stacking order does matter)
• Different scenes usually get different LMTs
• Examples of LMTs are (but not limited to):• Local mathematical operations on the whole image (e.g. RGB-matrices, color
curves, …, but not convolution filters, …)• Primary color grades• On-set or near-set grades represented as Color Decision Lists (CDLs)• Pre-defined LUTs/formulas emulating specific ‘looks’ (monochrome, bleach-
bypass, …)
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sRGB vs DCI X′Y′Z′
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sRGB vs ACES2065-1
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ACES2065-1 vs ACEScc
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Color Space comparison
sRGBreference:
γ = 2.2
peak lum. = 100nits
whitepoint = D65
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Color Space comparison
Rec.2020
γ = 2.4
peak lum. = 1knits
differences with:
sRGB
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Color Space comparison
DCI P3
γ = 2.6
peak lum. = 48nits
whitepoint = DCI
differences with:
sRGB
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Color Space comparison
DCI X′Y′Z′
γ = 2.6
peak lum. = 48nits
Realcolorimetricspace
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Color Space comparison
ACES2065-1
not meant for directviewing
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Color Space comparison
ACEScg
working color space
not meant for directviewing
subtraction from:
ACES2065-1
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Color Space comparison
ACEScc
working color space
not meant for directviewing
subtraction from:
ACES2065-1
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Color Space comparison
ACEScct
working color space
not meant for directviewing
subtraction from:
ACEScc
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Color Space comparison
ACESproxy
transport only
not meant for directviewing
Video-legal levels
not to be stored
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Non-ACES color stack
viewingLUT
• Original footage is usually in some «log» encoding (35mm film-densityLog10 encoding?) This is sort of HDR where important re-exposure of the scene can still be made.
• Color correction layers are appliedon top of this «log» space.
• Viewing LUT is applied beforemonitor / projector throughout the process
• Output LUT (e.g. a Print Film Emulation), is applied before finalrendering to the delivery color space.
3D LUT
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ACES color stack
ACES2065to
ACEScc(t)
LMT
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Example from a real production
On-Set / Near-Set:• Cameras: ARRI Alexa (ARRIRAW), RED (R3D), GoPro (MPEG4 QuickTime),
mobiles
• Color Spaces: ARRI Log.C + other camera-native’s
• Reference monitors calibrated and aligned with the post lab’s
• Miscellaneous, yet standard equipment (e.g. Pomfort LiveGrade)
Postproduction / Digital Intermediate / Finishing:• FilmLight Baselight
• Cross-calibrated theatre projector and broadcast monitors
VFX• Autodesk Maya 2017 for modeling and animation
• The Foundry Nuke X + Studio for compositing
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On-set / near-set Workflow
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Postproduction Workflow
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VFX Workflow
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Rec.709 DPXs
SMPTE2065-4 OpenEXRswithout CDL
Color Pipeline for the Tests
ACES2065to
ACEScc(t)
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Pre-shooting ACES tests
• Camera dept. shoots camera-raw files for all photography sets
• On-set color-grading using CDL (on top of ACEScc)
• Camera dept. sends to the lab:• Camera-raw files• CDLs• SMPTE2065-4 renders (16bpc OpenEXR) of selected stills with just Input
Transform applied – with and without their CDLs• Renders of the above stills + Output Transform to Rec.709 (10bpc DPX)
• «Post» lab processes the camera-raw with Baselight:• Working c.s. is ACES2065-1; Grading c.s. is ACEScc• CDLs are applied• Renders are generated of the same EXRs and DPXs from camera dept.
• Photoshop comparison (in 32bpc environment) of the same frames
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Pre-shooting ACES tests results
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Pre-shooting ACES tests, zoomed
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Pre-shooting ACES tests, zoomed
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VFX ACES turnaround tests
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ACESclip: Clip-level metadata
XML sidecar file describing all the color-relatedmetadata of a still or moving picture (TB-2014-009) like:
• the «past» color transformation(s) it is baked with
• its current colorimetry
• the intended ouput /viewing environment
• in a word, its «color pedigree»
Pairs also (and above all) «non-ACES» files
May contain other metadata (TimeCode, LMT, …)
It is linked to the clip via UUIDs that must be honored
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Color Transformation Language
• It is a C-like programming languagefor color operations (S-2014-006)
• All ACES color transforms (IDTs, ODTs, LMT, …) are written and distributed as CTLs
• It is intended only for developers of ACES-compatible tools
• It is structured as a Color Management Library
• Academy-provided CTLs have a TransformID as UUID’s
float[3] restore_hue_dw3 (float pre_tone[3], float post_tone[3])
{
int inds[3] = order3(pre_tone[0], pre_tone[1], pre_tone[2]);
float orig_chroma = pre_tone[inds[0]] - pre_tone[inds[2]];
float hue_factor = ( pre_tone[inds[1]] - pre_tone[inds[2]])/orig_chroma;
if(orig_chroma==0.) hue_factor = 0.;
float new_chroma = post_tone[inds[0]] - post_tone[inds[2]];
float out[3];
out[inds[0]] = post_tone[inds[0]];
out[inds[1]] = hue_factor * new_chroma + post_tone[inds[2]];
out[inds[2]] = post_tone[inds[2]];
return out;
}
float moncurve_r(float y, float gamma, float offs)
{ //// Reverse monitor curve ////
float x;
const float yb = pow(offs * gamma / ((gamma-1.0)*(1.0+offs)), gamma);
const float rs = pow((gamma-1.0)/offs,gamma-1.0)*pow((1.0+offs)/gamma,gamm
if(y>=yb) x = (1.0+offs) * pow(y, 1.0/gamma) - offs;
else x = y*rs;
return x;
}
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CommonLUT Format
Comprehensive XML-based Color LUT file format (S-2014-006).
It can accomodate many stacked color operations (processes):
• 1D or 3D Color LUT
• ASC CDL
• Color matrices
• …
Has metadata for input/output digital colorspace descriptions
Still limited support by Product Partners (Autodesk Flame / Lustre, FilmLight Baselight / Truelight, Light Illusion LightSpace, …)
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ACES Framework at-a-glance
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Thank you !
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Questions
CTO
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Digital Workflow Supervisor
Founder, Kiwii Digital Solutions
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