As a result, the Academy Color Encoding System (ACES) was developed as a global standard for managing color workflows. Many cinematographers felt their control of the image slipping away, thanks to the preponderance of color science approaches and LUTs (color look-up tables) generated from a variety of sources and applied in post.
Nevertheless, video directors of photography could also rely on knowing that the image they were creating would translate faithfully throughout post-production.Īs video moved deeper into “cinematic” images, raw recording and log encoding became the norm. The advent of the video colorist allowed for more creative looks derived in post. In color television production, up through the early adoption of HD, video cameras likewise adhered to the standards of Rec. The film stocks, development methods, and printing processes were regimented with specific guidelines and limited variations.
In the film days, a cinematographer had a good handle on what the final printed image would look like.
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