Fast track article for IS&T International Symposium on Electronic Imaging 2020: Mobile Devices and Multimedia: Enabling Technologies, Algorithms, and Applications proceedings.

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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 Apple iPhone 12 Pro MAX possibilitiesThe fundamental idea is to use ACES as the central color management system. This paper investigates if the direct import from Canon RAW to ACES2065-1 (AP0) via dcraw shows advantages to our current workflow using the sRGB/Rec.709 color spaces. In addition, we compare the conversion from Apple DNG RAW files to ACES2065-1 to the Canon Workflow. Also included is an investigation into whether the stitching process in PTGUI changes the original colors of the ColorChecker24 patches.Eventually, we investigate the SDR video import from the Canon EOS D5 Mark IV camera and compare the new workflow using ACES2065-1 as the central color space to the existing workflow in sRGB/Rec.709.

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].