The latest release of Davinci Resolve has finally implemented the ACES 1.3 gamut compression transform. The gamut compression transform is the result of the Gamut Mapping Working Group’s work to create a more robust solution to issues with out of gamut colors and the resulting artifacts (loss of texture, intensification of color fringes). The delivered gamut compression transform performs well with wide gamut, high dynamic range, scene-referred content and is robust and invertible.
For this seminar, we have invited Nick Shaw, one of the groups leading contributors, to run through why gamut mapping is needed in ACES (and other) workflows, how the ACES Reference Gamut Compression works, and how it should be used.
CONTENTS
• Introduction
• The CIE 1931 Colour Matching Functions and the Human Visual System (HVS)
• Fundamental differences between cameras and the HVS
• Resulting errors in chromaticity values, particularly with narrowband lights
• Other causes of gamut problems
• Problems resulting from out of gamut values
• Artefacts produced by ODTs
• Issues in grading
• Issues in VFX
• Solving the problems
• ‘Traditional’ gamut mapping approaches
• Why these are not suitable here
• The old “Blue light fix” LMT
• The ACES Reference Gamut Compression
• Requirements for the algorithm
• Exposure invariance
• Zone of trust
• Invertibility
• How the RGC works
• Implementations
• Workflow
• On set/dailies
• Editorial
• VFX
• DI
• Archive
