Home Events Color Science Masterclass


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Abel Cine NY
88 35th St 4th Floor, Brooklyn, NY 11232
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Nov 11 2019 - Nov 12 2019


10:00 am - 5:00 pm





Color Science Masterclass

Long-awaited masterclass on Color Science has finally arrived. With this masterclass, we have created a comprehensive practical training on the subject of Digital Imaging for modern motion picture productions, from the camera to the end-user display device.

You will learn how to get the most out of modern digital camera sensors and how to take full control over your image. We will teach you the difference between Scene Referred and Display Referred approach, how to manage and control various color spaces through Gamut and Tonal Mapping and how to fully embrace tools for color management available today.

This course is all about Image manipulation beyond traditional color grading tools, advanced camera matching, film stock emulation, HDR and Wide Gamut workflows.

At the end of this two-day training, you will not only have full insider knowledge and techniques but will also gain full practical experience of how to use them.

We recommend it to Cinematographers wanting to explore the possibilities that digital cinematography opens, and that go far beyond traditional techniques thought at film schools. DITs wanting to advance their careers beyond data management tasks. Filmmakers who want to learn all about color and possibilities they have. Colorists wanting to expand their knowledge and learn how to design processing pipelines and build the most beautiful looks.

All attendees will get a license for Colourlab Plugin for Davinci Resolve


Color Encoding and Color Spaces

CIE Chromaticity diagram
Tonal Mapping, Linear, Gamma, Log, PQ
Gamut Mapping – how and why?

Color Control and measurement

Waveforms, vectorscopes and histograms
Light Meters
Color checker charts
Camera Test measurement

Characterizing Cameras

Red, Arri, Panasonic, Sony, GH4 and iPhone
Display Referred vs Scene Referred Imagery


Color Management with Davinci Resolve

DCM interface overview
How to work with 1D LUTs
3×3 Color Matrix in Davinci Resolve
Combining CDL and LUT
Chromatic Adaptation
Color Compression
Limitations of Davinci Color Management

Advanced Color Management

Colourlab interface overview
Advanced color science and how this works in Colourlab
Look Design using Colourlab
Show LUT shaping techniques
Colourlab and ACES
Film Stock Emulation in ACES
Developing Camera LUTs in ACEScct
Colourlab HDR and look translation
HDR10, Dolby Vision and Hybrid Log-Gamma
HDR to SDR round-tripping

Look Design Techniques

Creative Palettes and Film Profiles and how to use them
Hipster looks
Cross process on Kodak Vision 3
Sci-Fi looks
Classic 80’s Kodak Print Look
2000 Kodak Vision Camera Negative Look
90’s Action Film Look
Film Noir
Classic black and white
Orange and Teal
Northern Flat look
Flashback looks

Hourly Schedule

Day 1

10:00 - 12:30
Part 1
12:30 - 1:30
Lunch Break
1:30 - 5:00
Part 2

Day 2

10:00 - 12:30
Part 1
12:30 - 1:30
1:30 - 5:00
Part 2