[其它] 影视级高阶色彩理论与视频编码技术视频教程 |
本视频教程是由FXPHD机构出品的影视高阶调色技巧大师级训练视频教程，时长：6小时，大小：2.6 GB，MP4高清视频格式，附源文件，作者：Charles Poynton，语言：英语。 本教程中，我们将讨论学习数字电影和场景高清线性模型的采集和处理技术以及视觉要求。课程讲师Charles将会为我们讲解相机的各种编码的基本技术参数。他也会为我们讲解视频编码和日志编码中概念和技术上的差异并说明动态范围和噪声性能。Charles将为我们讲解为什么图片渲染必须在DI管道中进行。我们也会学习到细节场景线性模型如何改变传统的管道，并帮助CGI和VFX整合。 本视频教程适合如下人群： HD工程师和数码影像技术员（DITS） 合成师，光效师，色彩顾问和管道工程师 后期制作和视觉特效监事，后期、视效工程师和技术调色师 数码制片人和CGI或VFX软件开发者 学习本教程，学员最好了解一些数码视频，高清视频和数码电影知识。不需要掌握数学知识，但是，课程中我们会分析大量的图表和方程式。 FXPHD机构是老牌在线教学网站，网站的创建者就是Fxguide的团队，FXPHD制作了大量视觉特效、后期制作、摄影摄像的精品教程。每年支付4000元左右，就可以享受其中5门课程的教学，还可以提供VPN链接内网，每套课程都是10周左右的时间，每节课30分钟左右，包含训练文件和素材。FXPHD主打专业教学，所有的教程作者都是该领域的权威，必须拥有大量的项目经验。 更多相关内容请关注：视频教程专区 FXPHD DCT302 Advanced Color Theory and ACES Workflow For nearly 20 years, cinema production and post-production has been based upon the conceptual model of film acquisition: Even if digitally acquired, imagery was typically processed using the Cineon/DPX model– technically, Cineon Printing Density (CPD) coding. That coding incorporates the technical parameters of film; in particular, the S-shaped tone response and the colour crosstalk of film are built-into the image encoding. Because CGI and VFX computations are best performed in linear-light, the CPD scheme has made CGI and VFX difficult. Emergent techniques such as the OpenEXR encoding (promulgated by ILM) acquire “scene-linear” data – that is, image data is linearly related to the scene elements. Imposition of any required “look” is imposed in a structured manner during the DI process. The technique has been developed and refined at the Academy (as the AMPAS STC Image Interchange Framework, IIF). The scheme is being deployed commercially. Even without strict technical conformance to the various elements of the IIF – the IDT, APD, ADX, ACES, RRT, RDT, ODT – the concepts are being used in many productions. In this course, we will discuss the technical and visual requirements for acquisition and processing of digital cinema and HD using the scene-linear (ACES) model. Charles will introduce the basic technical parameters of the various camera encodings. Charles will explain the conceptual and technical differences between power-function based video coding and log coding, and describe the dynamic range and noise properties. Charles will outline how “picture rendering” must be imposed in the DI pipeline (for example, by the AMPAS reference rendering transform, RRT). We will discuss details concerning how the scene-linear model alters the traditional pipeline, and aids CGI/VFX integration. This course will be suitable for people in positions such as these: HD engineers and Digital Imaging Technicians (DITs) Compositors, lighters, shaders, and pipeline engineers Post-production and visual effects supervisors, post/VFX engineers, and technically minded colourists Digital cinema, digital video, and CGI/VFX software developers You should be familiar with digital video, HD, and digital cinema. Knowledge of mathematics isn’t required; nonetheless, lots of graphs and equations will be discussed! Class 1: Background: ILM’s pioneering work, OpenEXR, CTL; review of bit depths for physical and perceptual representation; appearance effects; picture rendering theory. Class 2: ACES block diagram and its concepts, colourspaces, and transforms: RICD, IDT, LMT, RRT, RDT, ODT. Class 3: Perceptually uniform coding; log-exp-power function math; 1D and 3D LUT interpolation. Class 4: Sensors (CCD and CMOS), quasilog coding; display physics, display pipeline, and display calibration. Class 5: Cineon Printing Density (CPD); printer points; APD/ADX; colour grading theory and practice. Class 6: Classic CIE colorimetry; LMS, XYZ, xyY, and RGB systems; colour transform theory. Class 7: The ACES pipeline in detail. Class 8: 3×3 transforms; the ACES IDT, how to acquire or build one. Class 9: Colour grading in detail; emergent software systems (ctl, OpenColorIO). Class 10: Special topics, forum questions, open discussion |
