Color Spaces of the VFX Pipeline Part 3: Camera Space

Diane Wright

New member
We saw in Part 2, the Real World, how scenes can have an enormous dynamic range that far exceeds our cameras. The inevitable result of this is the camera must clip the scene at its maximum brightness level, so we will explore solutions to that clipping. Film, on the other hand, does a soft clip at the shoulder of the film response curve that is far more elegant. Cameras also perceive color differently than our eyes and those differences must be understood and accounted for. Cameras also introduce their own digital idiosyncrasies to the image such as rolling shutter and digital noise due to their electro-optical design. This too must be understood that we may compensate for them in our work. Read more at You are being redirected...

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