Color Science & Image Theory
ACES 2.0 The latest Academy Color Encoding System release — a scene-referred, wide‑gamut pipeline that keeps color consistent across cameras, vendors, and time.
Bit Depth The number of bits used per channel (e.g., 10-bit, 12-bit), determining the number of discrete tonal steps available and directly impacting banding and smoothness.
BT.2100 The HDR television baseline. Specifies Rec.2020 primaries plus either PQ or HLG transfer curves.
Chroma Subsampling A video compression scheme (4:4:4, 4:2:2, 4:2:0) that reduces color resolution relative to luma to save bandwidth—impacting edge sharpness and color fidelity.
Chromaticity Coordinates The x,y values that precisely locate a chromaticity on a 2D gamut diagram, underpinning how primaries and white points are defined.
Color Gamut The subset of visible colors a standard or display can reproduce. Rec.709 is modest, P3 wider, BT.2020 exceptionally broad.
Color Primaries The specific red, green, and blue chromaticities that anchor a gamut. Changing primaries shifts every color in the set.
Contrast Curve The function that maps input luminance values to output values, shaping image contrast; often visualized as an S-shaped adjustment curve in grading tools to deepen shadows or elevate highlights.g., “Rec.709 gamma 2.4 D65”).
Display-Referred Grading based on what you see on a specific display — the image data has already been transformed into the display color space, offering a preview of the final output but limiting flexibility for further creative adjustments.
Dynamic Range The ratio between the darkest and brightest reproducible values in a camera or display. More range = more latitude.
EOTF / OETF Electro‑Optical (display) and Opto‑Electronic (camera) Transfer Functions — the math that links code values to light.
Gamut Mapping The process of translating colors from one gamut to another (e.g., BT.2020 - Rec.709) while preserving hue, saturation, and lightness as faithfully as possible.
HLG (Hybrid Log‑Gamma) A broadcast‑friendly HDR curve that remains viewable on SDR sets. One of two curves defined inside BT.2100.
IDT (Input Device Transform) Maps camera‑native values into a unified working space. See also - ODT.
JPLog2 A high‑dynamic‑range, scene‑referred log space created by Josh Pines. Preserves 18+ stops and keeps mid‑gray at code value 400 in 10‑bit for “ultra‑HDR” cameras like the ARRI A35 with improved spatial response.
Log A non‑linear encoding that compresses highlights and lifts shadows, mapping wide scene luminance into limited code values so more detail survives grading.
LUT (Look‑Up Table) A fixed matrix that remaps input values to output values. Handy, but less flexible than a full color grade.
Nit A unit of luminance (1 nit = 1 cd/m²) used to specify display brightness — HDR panels often target 1000+ nits versus ~100 nits for SDR.
ODT (Output Device Transform) Converts the scene‑referred image into the exact signal a target display expects — SDR Rec.709, HDR PQ, etc.
PQ (Perceptual Quantizer, ST 2084) An HDR EOTF that mimics human brightness perception. Used in HDR10 and Dolby Vision.
Rec.709 The foundational SDR color space defined by ITU-R BT.709 — specifies Rec.709 primaries, D65 white point, and a gamma 2.4 transfer curve for HD broadcast and post-production.
Scene‑Referred Working in real‑world lighting values before any display shaping. Provides maximum creative headroom.
Tone Mapping The algorithmic mapping of high‑dynamic‑range data into a display’s limited range, balancing highlight and shadow detail to match creative intent.
White Point The reference white chromaticity (e.g., D65, D60) that all tone‑mapping and display transforms pivot around.
Psychophysical & Perceptual Effects
Ambient Surround Compensation Adjusts image contrast relative to room brightness so the picture looks “right” in any environment.
Bartleson‑Breneman Effect Images viewed in bright surroundings appear to have higher contrast than the same images viewed in the dark.
Bezold‑Brücke Hue Shift Perceptual hue shifts that occur as luminance changes — especially noticeable under monochromatic lighting.
Chromatic Adaptation Human vision automatically balances to the prevailing light source; color pipelines account for this to keep images neutral.
Helmholtz‑Kohlrausch Effect Highly saturated colors appear brighter than equally luminous, less saturated ones — a key consideration in HDR grading.
Stevens Effect Apparent contrast increases with absolute brightness.
Tonal Relationships How light and dark elements interact to guide the viewer’s eye and build mood.
Dailies & Editorial Workflow
Balance The process of matching exposure, color, and contrast across shots before creative adjustments begin.
Confidence Check A frame‑accurate comparison between the reference cut and the conformed timeline to ensure nothing drifted.
Conform Rebuilding the locked edit with original high‑resolution media to prepare for grading.
Dailies Color‑managed viewing copies generated during production so editorial sees something close to the final look.
DIT (Digital Imaging Technician) On-set specialist managing camera exposure, color calibration, media backups, and monitor setups to protect the digital negative and secure data integrity from set through post.
First Pass The initial grade across the timeline covering balance and broad creative strokes.
Grade Timeline An edit version optimized for color work — may condense tracks or simplify effects to speed up grading.
Metadata Timecode, clip names, lens data, and other embedded information essential for conform and finishing
Offline / Online Offline low‑res proxy edit. Online: full‑quality media used for finishing.
Offline Eyes When collaborators grow attached to the temp color in the offline cut, even if it’s technically wrong.
One‑Light / Best‑Light Quick balanced passes for dailies — not final, but editorial‑ready.
Reel Name A unique identifier for each camera roll or media bin; crucial for error‑free conform.
Remote Monitoring Real‑time viewing of on‑set or dailies footage from a remote location via secure, color‑managed streams, enabling off‑site collaborators to review and provide feedback immediately.
Rushes Untouched camera originals from which dailies are generated.
XML / AAF / EDL Timeline interchange files that carry edit decisions between software platforms.
Creative & Cosmetic Work
Beauty Work Subtle skin and feature cleanup that remains invisible to the audience.
Bleach Bypass A creative chemical‑style effect simulating the skipping of the bleaching stage in film processing — reducing saturation, boosting contrast, and introducing metallic highlights.
Grain / Diffusion Digital treatments that add film grain, halation, or lens‑style diffusion to evoke an analog feel.
Look Development The creative process of establishing and refining an overall visual aesthetic — from color palette and contrast to texture and mood — ensuring a cohesive style that supports the story and directorial intent.
RGB 3D Grain Volumetric grain simulation where each color channel has independent motion for a truly filmic texture.
Selective Color Isolating and shifting specific color ranges (e.g., making all reds more magenta) while leaving others untouched.
Sky Replacement / Object Removal Targeted paint‑outs and clean‑ups performed within the grading toolset to avoid heavier VFX.
Split Tone A stylistic color grading technique that applies different hues to the shadows and highlights — often warm‑to‑cool or vice versa — to create mood and contrast.
Texture The intentional shaping of an image’s surface character—ranging from ultra‑clean to gritty—through layered grain, targeted sharpening, and adaptive softening to achieve a tactile, film‑like feel.
Vignette Darkening or lightening around the frame edges to draw the eye inward and shape the story focus.
Finishing & Delivery
Archive Secure long‑term storage of project assets beyond the standard 90‑day retention window.
Deliverables The finished assets required by each outlet: ProRes files, DCPs, IMFs, subtitles, captions, thumbnails, and more.
DCP (Digital Cinema Package) The standardized format for theatrical playback. Combines JPEG‑2000 picture, WAV audio, and XML metadata.
Image Sequence A stack of independent frames (DPX, EXR, TIFF) used for maximum quality and resilience.
IMF (Interoperable Master Format) A studio‑grade packaging format for streaming and broadcast platforms with track‑based components and metadata.
Mastering Preparing the final, spec‑compliant master files tailored to each release target.
QC (Quality Check) A technical and visual inspection to catch glitches, sync errors, color shifts, or spec violations before delivery.
Reference Monitor A calibrated display meeting strict accuracy specs used as the final authority in color decisions.
