Where content is going to be color graded, it is recommended to use source material that best retains the native color gamut and original dynamic range of the content at the time of its origination. Digital source input files come in different formats, color spaces and can vary in quality and size. For best results, input source files should be delivered in RAW*, Uncompressed or Lossless compressed formats of at least 10-Bits (12-Bits or greater is preferred). No looks, LUT’s, color corrections, additional grain or other transforms should be baked into the digital source files.
XML (or EDL) of the Picture Lock.
- Offline reference of the Picture Lock (DNxHD36/ProresLT/DNxHR LB/H.264)
Digital Source Files
- RAW, for example:
- Sony X-OCN: 16-bit scene linear data
- R3DCODE: 12-bit (lossless) linear wavelet data
Uncompressed or Lossless compressed source files or image sequence in highest possible
quantization (bit depth)
Please provide camera details and additional metadata.
Please provide specific information about the Scene Referred (recorded) Color Space and OETF (gamma), for example:
- Arri Wide Gamut (AWG) - “LogC3 or LogC4”
- Sony S-Gamut3 Cine - “S-Log3”
- REDWideGamutRGB - “Log3G10”
No looks, LUT’s, color corrections nor other transforms should be baked into the original camera files.
Visual Effects Shots
Visual Effects shots should be delivered in a
scene refered color space, preferrably ACES Linear AP0 2065-1 in ZIP1 Lossless Compressed Half-Float OpenEXR (.exr) or camera native color space (.dpx).
*RAW captured (linear) sensor data, stored with additional scene referred metadata.