2017

With respect to calibration, there are two classes of computer monitors:
■ Some high-end monitors have internal calibration circuitry. These monitors can be calibrated to emulate
another monitor that uses a different set of primaries. You use the manufacturer's software to adjust these
monitors to your desired aim.
■ Other monitors must be calibrated externally using a third-party product to generate an ICC profile that
you can use as your monitor transform.
When working in a video color space for video deliverables on a wide-gamut monitor, there are two
possibilities for getting an accurate preview of the final output:
■ If your monitor has internal calibration circuitry, you can calibrate to a video aim. For example for HD
video, you can calibrate your monitor to the Rec. 709 primaries, D65 white point, and 2.4 gamma. In
this case, you do not need to apply any color management for display.
■ Alternatively, you can leave your monitor calibrated to a wide-gamut aim, and use the
HD-video_to_current-monitor transform from the display/broadcast/ directory as your viewing transform.
Calibrating Autodesk Systems
For Autodesk Creative Finishing products that ship with an EIZO monitor (for example, CG245, CG246, or
CG277), you can use the manufacturer's software for calibration. The monitor transforms in the display/Eizo
directory assume that the monitor has been calibrated to the factory defaults: native primaries, D65 white
point, and a gamma of 2.2.
However, these are wide-gamut monitors, and it is sometimes desirable to calibrate to a different aim. In
such cases, you should apply a color transform that converts from the working space to the monitor's current
aim, if that aim is different from the working space.
Older Autodesk Creative Finishing systems have a monitor that relies on a probe using procedures described
in the
Lustre Color Management User Guide. These monitors may have different default settings.
Color Managing Images for Output
If your working color space does not match the color space of your deliverables, you can apply a transform
on output.
If your images are scene-linear, you can convert them to ACES if necessary using one of the transforms in
the primaries/ directory. After that:
■ If you are targeting video or digital cinema, use one of the transforms in the RRT+ODT/ directory.
■ If you are targeting a film recorder, use one of the ACES_to_ADX transforms in the film/ADX/ directory.
If your images are in a log space and you are not outputting to film, apply one of the transforms in the film/
directory to convert them to scene-linear and then continue as above.
Managing Gamut for Digital Cinema
Digital Cinema Distribution Masters (DCDMs) require images in the DCI/SMPTE X'Y'Z' color space. The
RRT+ODT/ACES_to_DCI transforms produce images in this color space (with variations for different creative
white points).
However, this color space is much larger than that of any real projector. A typical cinema projector has a
gamut closer to that of the DCI/SMPTE reference projector (P3 primaries).
Therefore, it is sometimes desirable to limit the gamut of colors placed in the X'Y'Z' color space to that of a
more representative projector. This has two advantages:
■ The gamut mapping is performed by the ODT (which preserves hue) rather than by the projector (which
typically clips).
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