American Cinematographer - January 2012 - 85
does the transform accurately from its camera’s output into ACES RGB values. That doesn’t have to entail going all the way back to the spectral response characteristics of the sensor, however; it may be just a look-up table, if that’s the way the manufacturer prefers to do it.” Once in the ACES color space, the full range of data captured from the digital camera can then be adjusted within a much larger bit-depth format, which utilizes the OpenEXR container originally developed by Industrial Light & Magic for use in the visual-effects arena. “The image characteristic of a digital camera and its sensor is unique to each camera,” says Encore senior colorist Pankaj Bajpai, who graded last year’s IIF test-bed TV series, Justified. “Each camera responds to the highlights and shadows a little differently. It’s analogous to how different film stocks behave. Cinematographers can test each camera the way they would a film stock to learn how the blacks feel, how the mid-tones register and so forth, and then light the way they always have, by eye or with a meter — whatever method they’re comfortable with. With ACES, when I have a scene with a wide dynamic range, I don’t have to chase certain areas with a power window to bring the highlights down the way I often had to before ACES.” IDTs account for only one aspect of the IIF-ACES workflow. Within the IIF there are also transforms for rendering (called the Reference Rendering Transform, or RRT), transforms specific to color-grading changes applied to a rendered image in the color corrector (Look Modification Transforms, or LMTs), and transforms that take into account the display device used to view the output image (Output Device Transforms, or ODTs). Clark explains, “To make an analogy, if ACES is your ‘negative,’ then the RRT, along with color-grading LMTs, is your ‘print,’ the rendered negative that you can view. You cannot make use of ACES files independently of the RRT. That’s also true of ODTs, which map
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American Cinematographer - January 2012
Table of Contents for the Digital Edition of American Cinematographer - January 2012
American Cinematographer - January 2012
Contents
Editor’s Note
President’s Desk
Short Takes: String Theory
Production Slate: The Descendants • ASC Awards Preview • HPA Awards
Cold Case
Animal Instincts
Lord of War
Go with the Flow
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodrigo Prieto
American Cinematographer - January 2012 - American Cinematographer - January 2012
American Cinematographer - January 2012 - Cover2
American Cinematographer - January 2012 - 1
American Cinematographer - January 2012 - 2
American Cinematographer - January 2012 - Contents
American Cinematographer - January 2012 - 4
American Cinematographer - January 2012 - 5
American Cinematographer - January 2012 - 6
American Cinematographer - January 2012 - 7
American Cinematographer - January 2012 - Editor’s Note
American Cinematographer - January 2012 - 9
American Cinematographer - January 2012 - President’s Desk
American Cinematographer - January 2012 - 11
American Cinematographer - January 2012 - Short Takes: String Theory
American Cinematographer - January 2012 - 13
American Cinematographer - January 2012 - 14
American Cinematographer - January 2012 - 15
American Cinematographer - January 2012 - 16
American Cinematographer - January 2012 - 17
American Cinematographer - January 2012 - 18
American Cinematographer - January 2012 - 19
American Cinematographer - January 2012 - Production Slate: The Descendants • ASC Awards Preview • HPA Awards
American Cinematographer - January 2012 - 21
American Cinematographer - January 2012 - 22
American Cinematographer - January 2012 - 23
American Cinematographer - January 2012 - 24
American Cinematographer - January 2012 - 25
American Cinematographer - January 2012 - 26
American Cinematographer - January 2012 - 27
American Cinematographer - January 2012 - 28
American Cinematographer - January 2012 - 29
American Cinematographer - January 2012 - 30
American Cinematographer - January 2012 - 31
American Cinematographer - January 2012 - Cold Case
American Cinematographer - January 2012 - 33
American Cinematographer - January 2012 - 34
American Cinematographer - January 2012 - 35
American Cinematographer - January 2012 - 36
American Cinematographer - January 2012 - 37
American Cinematographer - January 2012 - 38
American Cinematographer - January 2012 - 39
American Cinematographer - January 2012 - 40
American Cinematographer - January 2012 - 41
American Cinematographer - January 2012 - 42
American Cinematographer - January 2012 - 43
American Cinematographer - January 2012 - 44
American Cinematographer - January 2012 - 45
American Cinematographer - January 2012 - 46
American Cinematographer - January 2012 - 47
American Cinematographer - January 2012 - Animal Instincts
American Cinematographer - January 2012 - 49
American Cinematographer - January 2012 - 50
American Cinematographer - January 2012 - 51
American Cinematographer - January 2012 - 52
American Cinematographer - January 2012 - 53
American Cinematographer - January 2012 - 54
American Cinematographer - January 2012 - 55
American Cinematographer - January 2012 - 56
American Cinematographer - January 2012 - 57
American Cinematographer - January 2012 - 58
American Cinematographer - January 2012 - 59
American Cinematographer - January 2012 - 60
American Cinematographer - January 2012 - 61
American Cinematographer - January 2012 - Lord of War
American Cinematographer - January 2012 - 63
American Cinematographer - January 2012 - 64
American Cinematographer - January 2012 - 65
American Cinematographer - January 2012 - 66
American Cinematographer - January 2012 - 67
American Cinematographer - January 2012 - 68
American Cinematographer - January 2012 - 69
American Cinematographer - January 2012 - 70
American Cinematographer - January 2012 - 71
American Cinematographer - January 2012 - 72
American Cinematographer - January 2012 - 73
American Cinematographer - January 2012 - Go with the Flow
American Cinematographer - January 2012 - 75
American Cinematographer - January 2012 - 76
American Cinematographer - January 2012 - 77
American Cinematographer - January 2012 - 78
American Cinematographer - January 2012 - 79
American Cinematographer - January 2012 - 80
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American Cinematographer - January 2012 - 83
American Cinematographer - January 2012 - 84
American Cinematographer - January 2012 - 85
American Cinematographer - January 2012 - 86
American Cinematographer - January 2012 - 87
American Cinematographer - January 2012 - New Products & Services
American Cinematographer - January 2012 - 89
American Cinematographer - January 2012 - 90
American Cinematographer - January 2012 - 91
American Cinematographer - January 2012 - 92
American Cinematographer - January 2012 - 93
American Cinematographer - January 2012 - 94
American Cinematographer - January 2012 - 95
American Cinematographer - January 2012 - 96
American Cinematographer - January 2012 - 97
American Cinematographer - January 2012 - International Marketplace
American Cinematographer - January 2012 - Classified Ads
American Cinematographer - January 2012 - Ad Index
American Cinematographer - January 2012 - 101
American Cinematographer - January 2012 - Clubhouse News
American Cinematographer - January 2012 - 103
American Cinematographer - January 2012 - ASC Close-Up: Rodrigo Prieto
American Cinematographer - January 2012 - Cover3
American Cinematographer - January 2012 - Cover4
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