The following presentation will be given at the Fujifilm Technical Center Opening Event on September 20, 2013.
Seminar Title.
Practical scene linear workflows using ACES color space and their impact on the video and VFX industry
Seminar Overview
The scene linear workflow based on the ACES standard of AMPAS is a universal video production technique that condenses the know-how that has been used in Hollywood film production for many years. In addition to a dramatic improvement in video quality, this workflow is expected to reduce production costs by shortening production times.
In this seminar, we will discuss scene linear workflows based on the ACES color space. The impact of scene linear workflows on the video and VFX industries will be discussed from the perspective of DIT, pipeline, VFX, and digital cinema equipment manufacturers based on actual commercial production examples.
Date: Friday, September 20, 2013, 15:00 – 18:30
Venue: Fujifilm Technical Center
Minami Aoyama First Building 5F, 7-8-1 Minami Aoyama, Minato-ku, Tokyo
Fee: 4,000 yen (tax included) Capacity: 30 people
Facility Description.
The Fujifilm Technical Center was opened in July 2013 as a place for product development, evaluation, demonstration and training. The facility is also equipped with a monitoring environment including DLP and Dolby monitors for video evaluation and our own IDT preparation facility.
Organizer: Logoscope Ltd.
Cooperation: FUJIFILM Corporation, CHAOS GROUP JAPAN.
Program
15:00 – 15:30 “Live grading and post-production using ACES color space
Speaker: Takuya Ishimoto (Digital Image Technician)
Abstract. Based on actual commercial production examples in ACES color space, this presentation will report on the technical explanations of shooting, live grading, and post-production using 3DLUT, and the impact on the production side from a cost standpoint.
– The merits of ACES color space in CM production (reduction in man-hours)
– Sharing the look of the shooting site and post-production using 3DLUT
– The relationship between camera characteristics and the film look
– The list of equipment used in the actual CM production example: ARRI ALEXA, D21, FUJIFILM IS-100, IS-mini,
Black Magic Design DaVinci Resolve
15:30 – 16:00 “Report on the latest trends in ACES standards
Speaker: Daisuke Nakano (Imaging Division, Fujifilm Corporation)
Abstract. We will report on the latest trends in ACES standards hosted by AMPAS and American Academy of Motion Picture Arts and Sciences. In addition, Reference Rendering Transform (RRT) will be explained.
16:00 – 16:30
Questions and Answers Visit to Fujifilm Technical Studio
(dynamic range chart, color chart, spectrophotometer, digital cinema projector DLP, etc.)
Rest.
16:30 – 17:00 “Digital Cinematography and VFX Pipeline in Scene Linear (ACES)”
Speaker: Fumihiko Kamemura (Logoscope, Ltd.)
Abstract: We will talk about digital cinematography and the VFX pipeline for scene linear workflows (ACES). In recent years, the proliferation of RAW cameras has led to the emergence of the profession of digital image technician (DIT). In this lecture, we will discuss color management in shooting and live grading with ASC-CDL based on the DIT ACES standard. We will also explain the linkage of DIT and post-production to the VFX pipeline from pre-grading to conforming in order to drastically reduce video production man-hours.
– Basic explanation of scene linear
– Digital cinematography using scene linear (ACES)
– Live grading using ASC-CDL, which is based on VFX
– Integration with pre-grading and VFX pipeline
Presentation materials (download)
17:00 – 18:00 “The merits of VFX production in a color-managed scene linear environment
Speaker: Tatsuya Yamagishi (VFX Artist/CG Supervisor)
概要：シーンリニア環境でのVFX制作は、劇的な映像品質の向上やカラーマネージメントによる制作の効率化が見込まれます。そのためには、ポストプロダクションに集まるハイダイナミックレンジ素材の品質を保持しながら、適切なカラーマネージメントをおこなう必要があります。そこでは、ログからシーンリニア、カメラディバイス色空間からACES色空間などの様々な変換処理に加え、ViewLUTによるルックの再現を正確におこなわれています。同様に、VFX制作での露出、ホワイトバランス、ブラー、加算合成（グロー、レンズフレア）などの画像処理についても、シーンリニア環境でおこなうことで、生き生きとした視覚効果を得ることができます。
本講演では、具体的なソフトウェアオペレーション（The foundry Nuke, OpenColorIO etc）を交えながら、従来のワークフローと照らし合わせることで浮き彫りになったシーンリニア環境でのVFX制作のメリットについて解説します。
・ログ、ビデオ、シーンリニア素材の扱い
・シーンリニア環境での画像処理（露出調整、色合わせ、ブラーなど）
・RRT（Reference Rendering Transform）によるトーンマッピング
・既存ワークフローとシーンリニアワークフローの比較
18:00 – 18:30 “Domestic and international video industry trends and filming: guidance on the problems of CG pipeline
Speaker: Kazuhisa Shoshin, Lighting/Rendering Supervisor, Technical Director, Chaos Group Japan, Inc.
Abstract: Ten years have passed since V-Ray has been used internationally in various fields. While video production techniques have evolved over the last 10 years, problems continue to arise with the consistency of filming and CG. Why does this discrepancy occur, and what are the responses and pipelines in place overseas? What is the thinking of the personnel involved? What is the fundamental difference in motivation? I will talk about the pipeline between technology and people based on several video examples.