5 Things a Filmmaker Should know About Color Management2 min read
Reading Time: 2 minutesColor management for video post production is a subject rarely covered by the popular mainstream blogs and is less understood by most than the LUT. You have to go dig around for the hidden blogs of specialist geeks and nerds usually confined to dingy dark rooms that speak in strange dialects of post workflowese.
Color management is simply not a very sexy topic and is inherently very technical and scientific. It can be a difficult concept to grasp let alone implement in your workflow. This article will give you a basic understanding about a topic that any filmmaker in the digital age should be aware of and will give you an advantage over your competitors.
Last week I wrote an article explaining the LUT, or “˜look up table’ and touched on color spaces. You can find it here: What Exactly Is A LUT
Now I’m going to look at the basic practices of practical professional color management when designing and setting up your post production workflows without getting into too much science. I’ve provided a link at the bottom of the article which is a must-read for anyone wanting to dive deep into color management.
This will all lead to an upcoming introduction to ACES, or Academy Color Encoding System developed by the Academy of Motion Picture Arts and Sciences (think Oscars). With the technical standards of color for digital cinema (DCI-P3) surpassing those of HD television (Rec709), and now the standards developed for UHD (Rec2020) surpassing those adopted for digital cinema, I believe in time ACES will become the unified standard for future professional color workflow.
In total, it’s a lot to understand in one go so I’ve had to split it up over a few articles.
Why do I need to know about color management?
Read the full article here>> via Cinema5d
