Digital

 Color  Management  Basics  

An  Introduc6on  for  Mo6on  Pictures  

 Reference  Reading  
•  Review  Hunt,  Chapter  11,   Objec6ves  in  
Colour  Reproduc6on  

2  
 Defini6on  of  
Color  Management  

Every successful color-imaging system employs one or more

means for controlling and adjusting color information throughout
the system. That is what is meant by color management.

- Digital Color Management by Ed Giorgianni

3  
Mo6on  Imaging  Color  Systems  

Capture Process Output

Would you rather

design:
-  nin x nout systems
-  nin + nout systems
4  
 Color-­‐Encoding    

Capture Process Output

Convert the light Manage/Convert Convert the
at each picture the device input number
element into a associated with
numbers to a each picture
number. A
function of device common encoding. element into
design. Prepare/Convert light. A function
of device design.
numbers from
encoding for output
device.

In generic color-encoding each picture element requires a:

RED Code Value
GREEN Code Value
BLUE Code Value
5  
 Mo6on  Imaging  Systems  that  are  
Color  Managed  
•  Conven6onal  op6cal  film  systems  
–  Nega6ve  to  print  
–  Nega6ve  to  intermediate(s)  to  print  
•  Video  Systems  
–  From  video  capture  
–  From  telecine  scan  of  film  
•  Digital  Data  Systems  
–  Digital  Intermediate  
–  Data  capture   Management can be
analog (as we’ve already
–  CGI   studied with film design and
–  Video  capture   Jones diagramming) or
digital

6  
 Imaging  System  Paradigms  
Type  A:      Input  Driven  
•  Output  image  colors  =  Input  image  colors    
•  Photocopy  by  design:  
–  Example  Input:  Camera  Nega6ve    
–  Example  Output:  Duplicate  Nega6ve    
 
Mo6on  Picture  Implica6on:  The  Duplicate  Nega6ve  is  an  
exact  copy  of  the  Camera  Nega6ve  (*at  least  as  far  as  
the  print  film  is  concerned*)  
 

7  
 Imaging  System  Paradigms  
Type  B:      Encoding  Driven  

•  All  output  images  =  render  of  encoded  colors  

•  Encoded  digital  Code  Values  are  resident  in  a  file  
   
–  Example  Input:  CGI  on  a  monitor  
–  Example  Output:  rendered  image  on  color  print  

–  The  CGI  ar6st  is  not  interested  in  color  problems  

between  crea6on  and  exhibi6on;  he  just  wants  his  
colors  faithfully  represented  

•  Mo6on  Picture  Implica6on:  The  monitor  image  

and  the  print  film  image  match  the  color  
represented  by  the  code  values  in  the  file    
8  
 Imaging  System  Paradigms  
Type  C:      Output  Driven  

•  The  output  image  colors  will  be  op6mized  by  the  

output  device  
–  Example:  TVs  on  the  wall  at  Best  Buy  
 -­‐  Most  saturated  monitor  image  
 -­‐   Sport  mode,   Vivid  mode,   Movie  mode????  

•  Mo6on  Picture  Implica6on:  Electronic  image  does  

not  match  the  printed  image  as  each  is  differently  
able  to  realize  the  goal  
9  
Profile  Connec6on  Space  (PCS)    

PCS
Input  
A common
language based Output  
in colorimetric
standards of an
appropriate type

10  
Don’t  Forget  Color  Appearance!  

The PCS should respect

color appearance
phenomena and viewing
condition influences as
well

-  Flare
-  Chromatic adaptation
-  Dark-surround effects
-  Luminance effects
-  Etc…

11  
 Image  State  Diagram    
•  Image  States  in  which  mo6on  imaging  colors  
can  be  encoded:  
–  Scene  Colorimetry/Appearance  Encoding  (exact  colorimetric  or  
appearance  reproduc6on:  think     ideal  video  cameras  and  
produc6on  telecines)  

–  Prin6ng  Density  Encoding  (view  of  the  world  as  seen  by  a  nega6ve  film  
–  a  preferred  distor6on  of  reality  as  manifested  in  capture  film)  

–  Rendered  Appearance  Encoding  (image  manipulated  in  op6cal  prin6ng  

or  in  video  or  data  to  produce  a  desired  output  –  In  addi6on  to  print  
film  density,  standardized  video  (709)  &  Digital  Cinema  color  encoding  
are  based  on  this  paradigm  

12  
Mo6on  Picture  Image  State  Diagram  

Rendered
Scene Color and Tone Appearance
Encoding Render Encoding

Negative
Film Print
Model Model

Printing Translation between

Density
Encoding spaces usually infers
intentional color
manipulation, both artistic
and technical!
13  
 Mo6on  Picture  Image  State  Diagram  
Film:
Reversal
Film: Color Negative
Reversal B&W
Print Scan-only
Digital Restoration
Camera Intermediate
Video
Camera

Film
Scanner
Telecine

Color and Tone

Render Rendered
Scene Appearance CGI
Encoding Encoding

Creative
Effects
-------------- Film
Image Writer
Negative Correction
Film Digital
Model Print Projector
Model Print

Film: Video
Color Negative Display
B&W Film Printing
Scan-only Scanner Density
Restoration Encoding
Intermediate

Film Optically Print

Writer Intermediate Print

14  
 Film  System  Color  Management    
•  Film  system  color  management  is  based  on:  
–  The  manufacture  of  film  within  specified  tolerances  
•  Spectral  sensi6vity  
•  Sensitometry  
•  Interimage  
•  Dye  spectra  
–  The  manufacture  of  chemical  process  solu6ons  within  
specified  tolerances  
–  Control  strips  that  allow  the  users  to  characterize  the  
chemical  and  op6cal  post-­‐produc6on  processes    
–  Procedures  to  put  the  processes  in  calibra6on  based  on  
the  results  from  the  control  strips
15  
Digital  System  Color  Management    
•  There  are  mul6ple  digital  systems  that  now  
touch  mo6on  imaging  content  and  enforcing  
the  common  interchange  enjoyed  with  film  
systems  is  cri6cal  
•  Digital  system  color  management  is  based  on:  
–  Analyzing  the  needs  of  the  imaging  system    
–  Designing  a  color  management  system  with  a  chosen  
encoding  metric  
–  Characterizing  each  element  
–  Calibra6ng  (controlling)  each  element  
16  
Digital  Color  Management  for  
Digital  Intermediate  &   Data  
DataCam/Scanning  &  Recording  
(and  Manipula6on  in  Between)  
 Data and Video are Distinctly Different
Film Path

Copy and
Film Capture Theatre
Duplicate

Tele-
Scan Record
cine

Manipulate, Lossy Digital

Digital Postproduction Effects and CG Compress Cinema

Data V to D D to V
Capture DDR DDR

Video *De- Video Post- Lossy •  DVD

Capture comp production Compress •  TV

Electronic and Video Paths

18  
 Data  and  Video  
•  We’ve  described  data  vs  video  in  a   Dailies  
workflow  
•  We’ve  described  data  vs  video  in  electronic  capture  
paradigms    
•  We’ve  described  video  display  chain  color  and  tone  
reproduc6on  characteris6cs  
–  Color-­‐matching  func6ons,  display  primaries,  matrices,  and  
the  match  to  scene  colorimetry  
•  We’ve  described  film’s  place  in  a  video  workflow  
–  Produc6on  vs  projec6on  telecines  and  manual  aesthe6c  
tweaks  
19  
 We’ve  Outlined  the  Technical  
Differences  
Digital Video Data
Postproduction (DV) (DI & Datacam)
In a stream like water in a In computer files – generally
Signal
pipe – MOV, MXF CINEON, DPX, RAW, TIFF
Low precision – Generally
High precision - 10 bit log or
Precision some form of 8 to 12 bit
12-16bit linear going to 32 bit FP
linear with gamma
Speed Real time Non real time but getting better
2048 to 6224 pixels/line and
Resolution Up to 1920 pixels/line
beyond
Color sub-
Almost always Never (except in datacams)
sampled
Compression Always Never (except in datacams)
Dynamic Supports 10 stops – Supports 20 stops (except in
Range gamma encoded datacams)
20  
 Let’s  Add  One  More!!!  
Digital Video Data
Postproduction (DV) (DI & Datacam)
In a stream like water in a In computer files – generally
Signal
pipe – MOV, MXF CINEON, DPX, RAW, TIFF
Low precision – Generally
High precision - 10 bit log going
Precision some form of 8 to 12 bit
to 32 bit FP
linear with gamma
Speed Real time Non real time but getting better
2048 to 6224 pixels/line and
Resolution Up to 1920 pixels/line
beyond
Color sub-
Almost always Never (except in datacams)
sampled
Compression Always Never (except in datacams)
Dynamic Supports 10 stops – Supports 20 stops (except in
Range gamma encoded datacams)

Standardized? Absolutely! Sort of!

21  
 Data  and  Video  
•  We’ve  hinted  at  data’s  place  in  a  digital  intermediate  
environment  for  theatrical  exhibi6on  
•  We’ve  hinted  at  the   Reference  Prin6ng  Density  
paradigm  for  data  colorspaces  
–  Logarithm  of  print  exposure  
•  We’ve  stated  professional  theatrical  exhibi6on  is  a  
data  world,  not  a   video  world  

22  
 But  the  lines  are  blurring!!  
•  Produc6ons  want  one  look  for  television  and  
theatrical  distribu6on  
–  Are  they  sure!  
–  They  also  want  to  get  it  from  one  scan  
•  Video  cameras  can  be  used  for  DI  
•  Video  transfers  of  film  can  be  used  for  DI  

•  Think  about  your  own  SOFA  films  

–  Did  you  make  them  for  television  or  the  theater?  
–  What  do  you  want  them  to  look  like?  
23  
And  so  let’s  talk  Data  but  from  
the  perspec6ve  of  the  film  
system…  
Conven6onal  Duplica6on  
Work Print
Color
Original
Negative

Color
Master
Positive

Color
Duplicate
Negative

Color
Release
Print

25  
Scanning  and  Recording  
Work Print
Color
Original
Negative
Film Scanner

Color
Master
Positive Electronic
Intermediate
Film
Color
Duplicate Recorder
Negative

Color
Release Duplicate
Print Negative

26  
 Or  Shown  Another  Way…  

Digital
Mastering Digital Intermediate
(Data)
Film Production (Data) Film

Recording
Scanning
(Data)

Data Camera
(Data)

27  
 The  Resolu6on  Game  
•  The  industry  is  slowly  migra6ng  from  a  2K  philosophy  to  4K  
for  capture  
–  It  was  at  one  6me  that  4K  was  only  considered  for  serious  effects  work  
•  Higher  end  cameras  and  scanners  are  all  marketed  as  4K+  
capable  
•  This  puts  tremendous  strain  on  hardware  and  storage  
infrastructure  
•  Even  distribu6on  must  decide  what  to  do  with  elevated  data  
rates  
–  DCI  does  make  room  for  a  4K  projec6on  format  though  the  vast  
majority  of  currently  installed  systems  are  barely  bemer  than  HD  
–  What  is  the  business  model  for  upgrading?  

28  
Film:  How  Do  We  Go  From  an  Image  to  
Numbers  That  Aren’t  Video?  

It’s just the

physics of light
quantified
Optics
But in density, not
exposure!!!
Film
Opal Glass (emulsion side down)
Log radiometry,
Fiber Optic Bundles not linear
R B
G

Photomultiplier Tubes with Filters

29  
 Clearing  Up  Linear  vs  Log  
•  Thanks  to  the  influence  of  a  large  number  of  engineers  who  
don’t  really  know  any  bemer,  the  terms   linear  and   log  get  
thrown  around  very  loosely  in  color  space  descrip6ons  
–  The  power  of  marke6ng  and  branding  

•  The  real  reason  for  these  differences?  

–  Video  engineers  who  don’t  understand  integral  density  or  film  
sensitometry  describe  anything   filmic  as   log  
–  Film  engineers  who  are  accustomed  to  log-­‐log  characteris6c  curves  
describe  anything   videoish  as   linear  
–  We’re  all  taught  that  one  or  the  other  is  clearly  superior  in  every  
situa6on  when  in  fact  they  each  have  their  place  in  device  physics  and  
image  processing  
–  Color  management  can  ul6mately  relate  the  two  spaces!  
30  
 Linear  
•  What  would  be  most  correct  for  a   linear  signal:    
–  a  color  space  representa6on  directly  propor6onal  to  linear  exposure  
or  transmimance  for  an  imaging  system  having  a  defined  spectral  
response  and  u6lizing  a  given  balance  criterion  
–  Tris6mulus!!!  
•  But  ooen  used  also  to  describe  these  situa6ons  in  mo6on  
picture:  
–  A  video  signal  derived  from  a  linear  camera  exposure  that  has  
undergone  non-­‐linear  color  or  tone  manipula6on  
–  The  linear  sensor  transmimance  of  a  telecine  or  film  scanner  (which  
includes  film  tone  characteris6cs  as  well)  
–  A  video  signal  complete  with  gamma  compensa6on  applied  
–  The  an6log  of  a  signal  someone  has  described  as  log  
–  Others  I’m  probably  leaving  out    
31  
 Log  
•  A   log  signal  is  one  representa6ve  of  op6cal  density  or  
analy6cal  dye  amount  as  jus6fied  by  Beer-­‐Lambert  physics  
–  It  is  perfect  for  any  imaging  workflow  where  the  final  deliverable  is  a  
piece  of  film  
–  Recall  nega6ve  film  density  (-­‐log10T)  is  the  logE  to  the  print  film  
•  Other  possible  uses:  
–  Any  digital  film  scan  signal,  regardless  of  the  quality  of  calibra6on  or  
signal  processing  employed  
–  The  logging  of  a  signal  someone  has  described  as   linear à  
par6cularly  popular  in  the  digital  cinema  cameras  used  today  and  a  
necessary  step  to  make  them  fit  into  the  contemporary  digital  
intermediate  workflow  
•  Panalog  
•  S-­‐log  (Sony)  
•  Etc…  
32  
 What  Should  You  Do??  
•  Be  smarter  than  the  manufacturer’s  spec  sheets  and  use  
common  sense  color  science  to  determine  what  you’re  really  
working  with  
–  These  classes  give  you  all  the  tools  you  need  to  interpret  any  system  
you  encounter  
–  Remember  the  rules  of  device-­‐dependent  color:    a  3-­‐channel  signal  is  
only  per6nent  to  color  appearance  in  the  proper  context  

•  Once  you  acknowledge  the  physics  of  an  imaging  situa6on,  

you  then  use  the  math  to  get  what  you  want  
•  There’s  nothing  wrong  with  other’s  claims  but  you  should  
always  work  in  data  you  fully  understand  and  can  fully  
manipulate  
33  
Prin6ng  Density  –  Metric  of  Choice  
for  Scanning  Film  to  a  Log  Signal  
Typical Well-Designed Film Scanner  
0.40

0.35 Scanner Response

Print System Response
0.30
Response      

0.25

0.20 Film density is log

0.15
Exposure to the
0.10 next film is log
0.05
It’s a log-log world
0.00
340 440 540 640 740

Wavelength (nm)
Resp( " ) = Illum( " ) # SpecSens( " )
34  
 Integral  Density  Review  
•  Full  mathema6cal  representa6on  of  integral  
density  
–  For  prin6ng  density,  the  source  illuminant  is  the  
printer  and  the  detector  is  print  film  

T = 10 "D
=
% SPD( # ) out $#
=
% T( # )S( # )SS( # )$#
% SPD( # ) in $# % S( # )SS( # )$#
Where  
 
S(λ)  is  the  spectral  power  distribu6on  of  the  source  illuminant  and  
SS(λ)  is  the  spectral  response  of  the  detector    
 
!   35  
 The  Real  Reason  for  Reference  
Prin6ng  Density  
•  The  vast  majority  of  the  world’s  theatres  are  
s6ll  projec6ng  film  
•  This  means  that  any  mastering  of  color  is  
usually  done  in  a  filmic  context  
•  Film  recorders  are  responsible  for  taking  
manipulated  reference  prin6ng  density  and  
making  it  real  prin6ng  density  for  mass  
duplica6on  via  an  intermediate  film  

36  
 Data  Color  Depth  
•  With  the  Cineon  Digital  Film  system  in  the  
1990s,  Kodak  established  the  current  industry  
norm  for  color  encoding  
–  10bit  RGB  color  
–  Prin6ng  density  encoding  (logarithmic)  
–  0.002PD  per  CV  

37  
 Proper6es  of  the  Nega6ve  
Typical Negative dynamic range
easily fits into the 2.046 printing
1023 density span afforded by the 2.046
Cineon definition (at least 15
896 1.792
stops of scene exposure)
768 1.536

640 1.280 Printing

10-bit Density
Density 512 1.024
Code
Values 384 2.046 D 0.002 Density 0.768
=
1023 per Code Value
256 0.512
12+ stops
128 0.256
0.000
0
--2.50 --2.00--1.50-1.00--0.50 0.00 0.50 1.00 1.50
Relative Log Exposure
38  
 Tonal  Range  in    
a  Typical  Scene  
1023 2.046
896 2.046 D 0.002 Density
1.792
=
1023 per Code Value
768 1.536

640 1.280 Printing

10-bit Density
Density 512
Code
4 Stops 3 Stops 1.024
Values 384 0.768
0.512 Don’t follow this
256 CV-to-PD
18% gray conversion for
128 0.256 the negative
film too closely
0.000 à other
0 conventions are
--2.50 --2.00--1.50-1.00--0.50 0.00 0.50 1.00 1.50 employed
typically
Relative Log Exposure
39  
 Scanner  Opera6on  
•  Balanced  on  film  D-­‐min  (generic  balance  is  95-­‐95-­‐95)  
•  One  code  value  =  0.002  prin6ng  density  
–  Recall  a  typical  printer  light  is  0.025  logE  to  the  print  film  
–  12.5  CVs  per  printer  light  
•  Film  D-­‐min  CV  >  0  to  allow  for  grain  fluctua6ons  
•  Where  possible,  normal  18%  density  should  be  balanced  to  
445  CV  (doesn’t  always  match  with  95-­‐95-­‐95  guideline  above)  
–  Requires  some  knowledge  of  film  stocks  and  some  calcula6ons    
–  frameline  Dmin  samples  are  typical  opera6ons  balance  cue  

40  
 Code  Value  Conven6ons  
•  Why  place  the  scene  18%  gray  at  445-­‐445-­‐445  
on  the  scanner?  
–  this  translates  to  0.89  PD  above  Dmin  on  the  
duplicate  nega6ve  film  to  be  recorded  (we’ll  talk  
about  how  recorders  are  calibrated  in  a  bit)  
–  Taking  typical  intermediate  film  Dmin  of  0.05,  
0.55,  0.6  and  adding  0.89,  we  get  very  close  to  
Kodak  recommenda6ons  for  duplicate  nega6ve  
LAD  placement  (1.00,1.45,  1.55)*  

*yes, I m mixing StM and PD – just an approximation

41  
 Code  Value  Conven6ons  
•  Why  place  the  nega6ve  Dmin  at  a  95-­‐95-­‐95  
balance  on  the  scanner?  
–  As  it  turns  out,  the  average  density  range  
between  Dmin  and  18%  gray  on  a  properly  
exposed  nega6ve  film  is  0.7  
–  With  445  chosen  to  accommodate  duplicate  
nega6ve  placement,  95  calculates  out  for  Dmin  

•  Are  either  conven6on  solidly  followed?  

–  No!  but  it’s  close…  
42  
 Kodak  Vision2  500T  Prin6ng  Density  
3.0000  
A Digital Dilemma:

Recall that Color Negative RGB

contrasts are not equal in printing
2.5000  
density

Sure, you can force the 18% gray to

R=G=B CV at 445, but that equality
2.0000  
quickly disappears up and down the
scale
Density  

1.5000   PD_2383  Red  

PD_2383  Green  

PD_2383  Blue  

1.0000  

This is perfectly OK for film data but it

0.5000  
causes graphic artists accustomed to
digital images with R=G=B being neutral
headaches!

0.0000  
-­‐4.00   -­‐3.50   -­‐3.00   -­‐2.50   -­‐2.00   -­‐1.50   -­‐1.00   -­‐0.50   0.00  
logE  (log  lux-­‐sec)  
43  
 Scanner  Calibra6on  
SD [3x3] PD
Colors

SDr SDg SDb PDr PDg PDb

100 100 100 100 110 110
200 200 200 200 220 220
400 400 400 400 440 440
200 100 100 200 110 110
100 200 100 100 220 110
100 100 200 100 110 220

M11 M12 M13 PDr = M11 * SDr + M12 * SDg + M13 * SDb
[3x3] = M21 M22 M23 & PDg = M21 * SDr + M22 * SDg + M23 * SDb
M31 M32 M33 PDb = M31 * SDr + M32 * SDg + M33 * SDb

44  
 The  DPX  File  
•  Mo6on  data  files  are  most  typically  stored  in  
the  Digital  Moving  Picture  Exchange  (DPX)  
format  
•  Standardized  in  1993  as  SMPTE  268M  
–  Resolu6on  independent  
–  Bit-­‐depth  independent  
–  All  file  amributes  iden6fied  in  a  binary  header  
–  Raster  essence  packing  

45  
 Image  Manipula6on  Workflow  
•  The  DI  Color  Grading  Suite  is  ooen  referred  to  as  a   Virtual  Telecine  
–  Scanned  data  files  are  fed  from  a  storage  server  to  color  correc6on  equipment  
which  provides  an  HD  preview  at  24fps  or  appropriately  transformed  data  rate  
–  Preview  may  be  a  typical  video  monitor  or  a  digital  projector  (either  must  be  
calibrated  to  final  film-­‐out  colorspace)  
–  Full  resolu6on  manipulated  data  files  are  wrimen  back  to  storage  

Scanner Storage Manipulate

Visualize

Scan

46  
 Image  Manipula6on  Workflow  
•  As  the  scanned  data  files  are  already  being  converted  to  a  video  signal  for  
preview,  it  is  a  trivial  step  to  record  the  video  signal  out  for  typical  dailies  
duplica6on  
–  This  is  the  onus  for  data  dailies  
–  The  real  trick  comes  in  conver6ng  scanned  data  files  encoded  in  prin6ng  
density  to  video  primaries  that  emulate  recorded/printed  film  outs  

Scanner Storage Manipulate

Visualize

Scan

DVD

Color Management! – we’ll hit this topic in coming lectures

47  
 Image  Manipula6on  Workflow  
•  Modern  color  grading  is  increasingly  sooware-­‐based  for  scalability  
–  Bandwidth  problems  can  be  prevalent  with  intensive  processing  
•  DI  suites  are  also  using  full  size  theatrical  projec6on  to  re-­‐create  the  
environment  of  film  dailies  
•  It’s  big  business  and  it’s  all  about  (the)  image  

Scanner Storage Manipulate

Visualize

Scan

48  
 Image  Manipula6on  –  ASC  CDL  
•  As  we  learned  in  studying  film-­‐to-­‐video  applica6ons,  the  industry  has  
grown  up  with  an  expecta6on  that  electronic  color  images  can  be  
managed  with  fairly  powerful  curve-­‐shaping  tools  
–  Lio,  gamma,  gain,  secondaries,  satura6on,  mames,  etc.  
•  But  in  tradi6onal  prin6ng  applica6ons,  the  no6on  of  printer  lights  always  
provided  an  extremely  powerful  communica6on  tool  for  the  ul6mate  look  
–  Universally  interpretable  and  understood  
–  Universally  simple  
–  Universal  color  reproduc6on  
•  Electronic  systems  are  notoriously  poor  in  achieving  a  standard  set  
of  controls  
–  Everyone’s  controls  are  different  and  worse  yet,  everyone’s  physical  summary  
of  the  amount  of  any  control  are  different  
•  The  American  Society  of  Cinematographers,  frustrated  by  this  new  reality  
in  the  digital  world,  has  proposed  a  solu6on  
49  
 ASC  CDL  
•  The  ASC’s  Color  Decision  List  presents  9  numbers  per  color  
decision  in  a  keykode/6mecode-­‐synced  edit  file  that  
accompanies  raw  footage  
–  Slope,  power,  and  offset  for  R,  G,  and  B  channels  
–  look  is  never  baked  in  un6l  ready  
–  XML  file  implementa6on  is  universal  
•  Though  a  color  scien6st  may  admonish  the  prac6cality  of  
using  the  classic  lio,  gamma,  gain  approach  on  any  data,  
linear  or  log,  the  importance  of  the  ASC  CDL  is  as  a  
communica6on  tool  first  
–  Future  implementa6ons  may  include  satura6on  matrices  and  
appropriate  linear-­‐to-­‐log  conversions  

50  
 ASC  CDL  
•  Input  code  values  are  normalized  on  a  0-­‐1  scale  
based  on  signal  bit-­‐depth  (typically  10  or  12)  

S = input" slope 0 ≤ slope ≤ ∞

-∞ ≤ offset ≤ ∞
O = S + offset though -1 ≤ offset ≤ 1
! is practical range

power
output = [clamp0 "1 (O)] 0 ≤ power ≤ ∞
!
power
output 0 "1 = [clamp0 "1 (slope# input 0 "1 + offset)]
51  
!
 ASC  CDL  -­‐  Advanced  
•  Many  in  the  ASC  demanded  2  addi6onal  func6onali6es  be  
integrated  into  the  ASC  color  corrector  

–  Lio  –  changing  black  levels  while  keeping  whites  constant  

Original slope and offset manipulations
are allowed and must be properly
slope = lift & offset = 1 " lift combined with these results from a lift
operation to fit into the ASC’s equation

–  Printer  Lights  –  a  true  offset  of  12.5  10bit  CVs  per  light;  can  only  be  
implemented  trivially  in  ASC’s  equa6on  when  power  =  1  
!
power
output 0 "1 = [clamp0 "1 (slope# input 0 "1 + offset)] + PL
power
output 0 "1 = [clamp0 "1 (slope# input 0 "1 + (offset + PL _ adj))]
52  
 A  Full  Rendering:  The  Print  Look  
•  Digital  Intermediate  color  work  would  be  fairly  
useless  if  the  ar6sts  couldn’t  get  a  feel  for  exactly  
how  the  PD-­‐encoded  images  would  look  on  
projected  print  film  

•  In  color  management  terms,  this  requires  color  

science  algorithms  to  render  forward  the  appearance  
of  mo6on  picture  print  film  
–  Print  Film  Emula6on!  
–  The  fun  part  is  that  you’ve  already  started  to  understand  
these  algorithms  when  you  built  the  Jones  diagrams!  
53  
 Display/Preview  
Data File Matching the
R G additive
Reference
display to the
PD B
eventual
projected film
Film Recorder Dim Surround print involves
Additive System some complex
math

We’ll be
Printer M Y covering this in
detail in
C coming
lectures
Dark Surround
Subtractive System

54  
Geyng  Back  Out  to  Film  
Data File

Film
Recorder
Laser, Intermediate CRT, Camera Neg

Printer, Print Film Printer, Print Film

55  
 Calibra6on  Objec6ve  
•  Digital  CVs  are  encoded  prin6ng  density  
•  Duplicate  Nega6ves  should  be  thought  of  as  
yielding  prin6ng  density  responses  as  well  

•  The  natural  calibra6on  goal  for  a  recorder  is  to  

produce  prin6ng  density  above  Dmin  
equivalent  to  input  CV*0.002  

56  
Nega6ve  Films  Used  for  Recording  
EASTMAN EXR 50D Film 5245 and KODAK VISION
Color Intermediate Film 5242 Sensitometry
3.00
45-Red
45-Green
2.50 45-Blue
42-Red
42-Green
2.00 42-Blue
Status M Density

1.50

1.00

0.50

0.00
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Step 57  
Introducing  Digital  LAD  
Add this digital
file to a data
sequence to be
recorded out

The 445 patch

can check
recorder
+processor
calibration
(0.89PD above
Dmin)

But it is also a
printing guide for
generating
properly color-
balanced prints
58