This paper will present an overview of a project to digitize the Library of Congress Hebrew Manuscripts collection, which spanned from 2021 through spring 2023. It will describe the historical/cultural importance and breadth of the collection, as well as the workflow and processes used to digitize and display the manuscripts.
ACES is a standardized color management system widely used in the film and visual effects industry to ensure consistent and accurate color reproduction throughout the production pipeline. Integrating ACES into game engines like Unreal Engine could have significant benefits, especially for game developers who want to achieve high-quality, consistent color representation across different platforms and displays. Game developers can achieve heightened visual fidelity by leveraging ACES in Unreal Engine 5, especially concerning wide color gamuts and high dynamic range (HDR) content. The standardized color management system allows cross-platform development, guaranteeing consistent color reproduction on various devices and display technologies. Moreover, Unreal Engine 5's support for ACES facilitates seamless collaboration with other creative industries that utilize this industry-standard color pipeline. However, implementing ACES in a real-time engine presents unique challenges regarding performance optimization and ensuring compatibility with other game engines. Artists and developers may need to adapt their workflows to accommodate ACES color transforms, impacting the art pipeline and user-generated content. This paper uses ACES to investigate color input and output consistency to and from Epic Games Unreal 5 regarding Wide Color Gamut and High Dynamic Range imagery.
Professional digitization of cultural heritage items in the Polish State Archives can be divided into two major branches: digital imaging of transparencies and reflectives. While the latter has been meticulously standardized in accordance with ISO 19264 and domestic guidelines, the case is much different for the former. This paper is aimed at addressing the issue of color in mass digitization projects.
According to our recent paper [1], the concept of creating a still image panorama with the additional inclusion of video footage up to 30K resolution has proven to be successful in various application examples. However, certain aspects of the production pipeline need some optimization, especially the color workflow and the spatial placement of the video content. This paper aims to compare two workflows to overcome these problems. In particular, the following two methods are described in detail: 1) Improving the current workflow with the Canon EOS D5 Mark IV camera as the central device, 2) Establishing a new workflow using the new possibilities of the Apple iPhone 12 Pro MAX. The following aspects are the subject of our investigation: a) The fundamental idea is to use the ACES as the central color management system. It is investigated if the direct import from RAW to ACEScg via dcraw and rawtoaces shows advantages. In addition, the conversion from Dolby Vision to ACES for the video processing is investigated, and the result is evaluated. Furthermore, the influence of stitching programs (e.g., PTGUI) on the color workflow is observed and optimized. b) The second part of the paper deals with the spatial integration of the videos into the still panoramas. Due to the different crop factors, specific focal lengths must be applied when using the Canon EOS D5 Mark IV; this distorts the image and video materials differently and makes it difficult to place the video footage in the panorama. We investigate if the usage of the lens distortion removal algorithm improves results. Furthermore, the comparison of the performance and capabilities of the Apple iPhone 12 Pro MAX is also evaluated regarding this aspect. Finally, the recorded resolution of detailed vegetation and foliage in video footage is compared. The paper summarizes the results of the new proposed workflow and indicates necessary further investigation. [1] Hasche, Eberhard; Benning, Dominik; Karaschewski, Oliver; Carstens, Florian; Creutzburg, Reiner: Creating high-resolution 360-degree single-line 25K video content for modern conference rooms using film compositing techniques. In: Electronic Imaging, Mobile Devices and Multimedia: Technologies, Algorithms & Applications 2020, pp. 206-1-206-14(14), https://doi.org/10.2352/ISSN.2470-1173.2020.3.MOBMU-206
In modern moving image production pipelines, it is unavoidable to move the footage through different color spaces. Unfortunately, these color spaces exhibit color gamuts of various sizes. The most common problem is converting the cameras’ widegamut color spaces to the smaller gamuts of the display devices (cinema projector, broadcast monitor, computer display). So it is necessary to scale down the scene-referred footage to the gamut of the display using tone mapping functions [34].In a cinema production pipeline, ACES is widely used as the predominant color system. The all-color compassing ACES AP0 primaries are defined inside the system in a general way. However, when implementing visual effects and performing a color grade, the more usable ACES AP1 primaries are in use. When recording highly saturated bright colors, color values are often outside the target color space. This results in negative color values, which are hard to address inside a color pipeline. "Users of ACES are experiencing problems with clipping of colors and the resulting artifacts (loss of texture, intensification of color fringes). This clipping occurs at two stages in the pipeline: <list list-type="simple"> <list-item>- Conversion from camera raw RGB or from the manufacturer’s encoding space into ACES AP0</list-item> <list-item>- Conversion from ACES AP0 into the working color space ACES AP1" [1]</list-item> </list>The ACES community established a Gamut Mapping Virtual Working Group (VWG) to address these problems. The group’s scope is to propose a suitable gamut mapping/compression algorithm. This algorithm should perform well with wide-gamut, high dynamic range, scene-referred content. Furthermore, it should also be robust and invertible. This paper tests the behavior of the published GamutCompressor when applied to in- and out-ofgamut imagery and provides suggestions for application implementation. The tests are executed in The Foundry’s Nuke [2].
Color quality can be measured two ways. The first is target based where color-difference statistics are reported comparing image data with measurement-based colorimetric data. The second is based on measuring the camera sensor’s spectral sensitivities and calculating their similarity to a standard observer, for example, μ-factor. A computational experiment was performed where synthetic images of a variety of targets were rendered for four camera systems having μ-factors of 0.79, 0.88, 0.94, and 0.99. Each camera was profiled using the same target. Although profile color accuracy was acceptable for all the cameras, this did not predict the color accuracy for independent targets. μ-factor was a better predictor of color quality and its use is recommended when evaluating cameras for cultural heritage applications
In this paper, we will introduce a novel low-cost, small size, portable nail printer. The usage of this system is to print any desired pattern on a finger nail in just a few minutes. The detailed pre-processing procedures will be described in this paper. These include image processing to find the correct printing zone, and color management to match the patterns’ color. In each phase, a novel algorithm will be introduced to refine the result. The paper will state the mathematical principles behind each phase, and show the experimental results, which illustrate the algorithms’ capabilities to handle the task.
ACES is the Academy Color Encoding System established by the Academy of Motion Picture Arts and Science (A.M.P.A.S). Since its introduction (version 1.0 in December 2014), it has been widely used in the film industry. The interaction of four modules makes the system flexible and leaves room for own developments and modifications. Nevertheless, improvements are possible for various practical applications. This paper analyzes some of the problems frequently encountered in practice in order to identify possible solutions. These include improvements in importing still images, white point conversions problems and test lighting. The results should be applicable in practice and take into account above all the workflow with commercially available software programs. The goal of this paper is to record the spectral distribution of a GretagMacbeth ColorChecker using a spectrometer and also photography it with different cameras like RED Scarlet M-X, Blackmagic URSA Mini Pro and Canon EOS 5D Mark III under the same lighting conditions. The recorded imagery is then converted to the ACES2065-1 color space. The positions of the patches of the ColorChecker in CIE Yxy color space are then compared to the positions of the patches captured by the spectral device. Using several built-in converters the goal is to match the positions of the spectral data as close as possible