NETFLIX Color Pipeline
Color Pipeline Requirements
It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.
Color pipeline documentation must be shared with production and post-production ahead of the first day of photography.
Non-ACES Pipelines (Camera Native + Show LUT)
- Working Color Space ust be defined and communicated to all departments.
- Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut
- Output / Show LU must be defined and shared between all departments.
- ACES Versio (i.e. v1.0.2) should be defined and shared between all departments.
On-Set & Dailies Colo
- CDLs only
- No secondaries, keys, or power windows to ensure compatibility in post.
- Order of operations is critical
- CDLs must be applied before Output Transform.
- See diagram below.
- On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)