RAW images and videos for 30K panoramic projection using the ACES workflow

Abstract

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.

iPhone12 imagery in scene-referred computer graphics pipelines

“…Especially for the documentation of setups and camera positions, but also in acquiring textures, panoramas, and input into other imaging processes, these iPhone recordings can be used. Since the ACES system increasingly dominates film pipelines, it is of great importance to add still photographs to this system in addition to the well-documented input from film cameras [14][15] [16]. AppleProRAW image files are well suited for this purpose due to their extended luminance range.…”