Advanced Authoring Format (AAF) - Professional file interchange format designed for the video post production and authoring environment. AAF files help address the problem of multi-vendor, cross-platform accessibility for computer based digital video production
Aces- Short for Academy Color Encoding System. ACES is a postproduction specification that helps ensure that the color the cinematographer intends is the color the audience sees. The system uses 16-bit linear storage. The benefits of Sony S-Gamut, S-Log 2 and 16-bit linear RAW recording become very clear as the transform into ACES color space works beautifully.
Additional Dialogue Replacement (ADR) - Post production process where the actor substitutes the recorded audio on set with dialogue recorded in studio. This is mainly used to improve audio quality as well as dubbing to another language.
ASC CDL- Short for American Society of Cinematographers Color Decision List. A tool that enables color decisions early in the workflow to be accurately communicated to subsequent stages. For example, decisions made during On-Set Look Management can be sent to Dailies and Color Grading.
Aspect Ratio - The ratio of length to height of pictures. All TV screens used to be 4:3 (4 units across to 3 units in height), but now almost all new models, especially where there is digital television, are widescreen, 16:9. Pictures presented this way are believed to absorb more of our attention and have obvious advantages in certain productions, such as sport. In the change towards 16:9 some in-between ratios have been used for transmission, such as 14:9.
Bayer Filter / Mask Array - A Bayer array is a pattern of red, green and blue non co-sited filters placed onto an imaging chip (CCD, CMOS) so that it can capture the separate red, blue and green primary colors of the image to make up a color digital image. As our eyes have more resolution for green light than red or blue, there are twice as many green cells as there are red and blue. Some redundancy of the green pixels produces an image which is less noisy and has finer detail than would be achieved if there were and equal number of red, green and blue cells.
The R, G and B pixels generated by the Bayer filter need to be ‘unmasked’ using a complex algorithm to produce white.
Traditionally professional TV cameras have used three image sensors, one to pick up each primary color. This arrangement demands that the three are finely registered together and involves a considerably more bulky construction and cost than the still digital cameras and consumer camcorders that use a single chip sensor with a Bayer, or other similar filter. However most new high-end professional cameras now have just one sensor.
Checksum - A simple check value of a block of data intended to recognized when data bits are wrongly presented. It is calculated by adding all the bytes in a block. It is fairly easily fooled by typical errors in data transmission systems so that, for most applications, a more sophisticated system is preferred.
Chromatics - The science of color is sometimes called chromatics, chromatography, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (what we commonly refer to simply as light).
Chrominance - The color part of a television signal, relating to the hue and saturation but not to the brightness or luminance of the signal. Thus pure black, gray and white have no chrominance, but any colored signal has both chrominance and luminance.
See Also - Luminance
Codec - Originally short for a combination of a coder and decoder but now often used to describe just one or the other. Mostly codec refers to a compression coder or decoder such as JPEG, MPEG, ProRes or DNxHD.
Color Correction - Color Correction is the process of adjusting the color of a clip to get the best out of the material or to match shots perhaps taken at different times or in different lighting conditions. In film, grading was traditionally done when going from internegative to print film by controlling the exposure of the film. In television it was traditionally done off the telecine for commercials or tape-to-tape for longform programs. Either way, both processes were by their nature linear.
The advent of non-linear grading systems has once again changed the rules for color correction. While there is still a requirement for an initial technical scan for film-originated material, from this point on, grading can – and often does – happen at multiple stages in the post production process. It is now possible – and usually desirable – to color correct individual layers within composites (which may be shot under different lighting conditions) to ensure that the result is harmonious within itself, and non-linear working means that scene-to-scene comparisons and corrections can be made as the edit unfolds. This eases the final grading process when the finished work is reviewed interactively with the director/client.
Secondary color correction is aimed at controlling a particular color or a narrow range of colors – such as those on a car or product. Here typically the hue, gain and saturation can be changed. There are also several methods available for defining the object, area or ‘window’ of required color correction such as using wipe-pattern shapes, drawing an electronic mask by hand or a combination of automatic and by-hand methods.
See Also - Grading
Color Cube (3D LUT) - A representation of color space by a three-dimensional diagram. For example, all definable colors of an RGB color space can be contained in an RGB color cube where R, G and Bare axes at right angles to each other (like x, y and z at the corner of a cube). Different color spaces and interpretations of color are defined by different color cubes. If the exact spectral values of R, G and B are defined, that cube defines an absolute color space. Such cubes are available from a number of vendors.
See Also - LUT, Color Management
Color Decision List - The American Society of Cinematographers’ Color Decision List (ASC-CDL) is a proposed metadata interchange format for color correction, developed to ensure that images appear the same when displayed in different places and on different platforms. This should enable consistency of look from on-set monitoring through post production to the final grade.
Color Management - The management of color through a process, such as DI or video grading. Television engineering folklore says that a picture never looks exactly the same on two picture monitors. Certainly it has been hard to achieve a convincing match... until now. By the use of probes to measure the colors on a screen, and equipment with adjustable color LUTs, the look of color can be set to the same across all monitors – within their technical limits.
See Also - Color Cube (3D LUT), LUT
Color Space - The color range between specified references. Typically three references are quoted in television: for example RGB, Y R-Y B-Y and Hue, Saturation and Luminance (HSL) are all color spaces. In print, Cyan, Magenta, Yellow and Black (CMYK) are used. Film is RGB while digital cinema uses X ́Y ́Z ́. Moving pictures can be moved between these color spaces but it requires careful attention to the accuracy of processing involved. Operating across the media – print, film and TV, as well as between computers and TV equipment – will require conversions in color space.
Compression (Audio) - Reduction of bandwidth or data rate for audio. Many digital schemes are in use, all of which make use of the way the ear hears (e.g. that a loud sound will tend to mask a quieter one) to reduce the information sent. Generally this is of benefit in areas where bandwidthor storage is limited, such as in delivery systems to the home, handheld players, etc.
Compression (Video) - The process of reducing the bandwidth or data rate of a video stream. Digital compression systems analyze their picture sources to find and remove redundancy both within and across picture frames. The techniques were primarily developed for digital data transmission but have been adopted as a means of reducing broadcast transmission bandwidths and storage requirements on disks.
Dailies - Unedited footage shot during the making of a motion picture. Usually at the end of each day, that day's footage is developed, synced to sound, and exported for viewing the next day by the director and some members of the film crew. However, the term can be used to refer to any raw footage, regardless of when it is processed.
See Also - Editorial Dailies, Viewing Dailies
DCI- Short for Digital Cinema Initiatives, an industry standard-setting body. The DCI standard encompasses image containers of 2K (2048 x 1080) and 4K (4096 x 2160).
Deliverables - Material that is delivered for use by customers – TV channels, agencies, Web, DVD, mobile phones, etc. The business of making deliverables has expanded with the widening of the scope of digital media.
Digital Cinematography - Shooting movies with digital cameras – not film. This growing practice generally makes use of cameras designed specifically for the purpose. These differ from the television application in that the full range of brightness captured by the image sensors is offered at the output as raw data, allowing color grading, format changes, etc. to be executed as a part of the digital intermediate process. Television cameras are designed to work live, and so they include front-end processing for gamma correction, set-up for the required color look and clipping to suit home viewing conditions.
Digital Negative - Digital image material that contains all the detail (spatial and dynamic/latitude) held in the original camera negative (OCN) film. This allows all latitude headroom to be included on the material for use in a DI process so adjustments of color and exposure can be made to the same degree as with film.
DNxHD - Video codec created by Avid and intended to be usable as both an intermediate format suitable for use while editing and as a presentation format.
DPX -Digital Picture Exchange is a common file format for digital intermediate and visual effects work. The file format is most commonly used to represent the density of each color channel of a scanned negative film in an uncompressed "logarithmic" image where the gamma of the original camera negative is preserved as taken by a film scanner.
Dual Link - The bandwidth of SDI and HD-SDI links allow the transport of uncompressed 4:2:2 sampled video and embedded digital audio. Dual links are often used to carry larger requirements– such as video with key (4:2:2:4), RGB (4:4:4) and RGB with key (4:4:4:4).
See also: 4:2:2, 4:4:4
Dynamic Range - For images – the measurement of the range of brightness in a scene expressed as a ratio or the Log10 of the ratio. Typically a lighting cameraman will try to keep a scene to less than 40:1 to avoid loss of detail in the print. A 100:1 contrast range in a scene is the typical maximum.
Edit Decision List (EDL) - Used exclusively in the post production industry, these lists contain an ordered list of reel and timecode data representing where each video clip can be obtained in order to conform and complete the final cut.
Editorial Dailies - When dailies are processed, the files that are needed to edit with are sent to the post production house, these files can be imported to any editing software, giving the editor the ability to edit with one clip containing audio and video together.
See Also - Dailies, Viewing Dailies
Essence - The material that television programs are made of. In other words, the video, audio and any other material such as graphics and captions that are added to make up the final result.
See Also - Metadata
Exposure - Exposure refers to the amount of light that falls on a film or light sensor. In a camera this is controlled by both time with the shutter, and the effective lens aperture, referred to as the F-number or T-number.
Film Formats - Unlike pre-HD television, which had only two image formats, 525/60I and 625/50I, 35 mm film has many. Of these the most common are Full Frame, which occupies the largest possible area of the film, Academy and Cinemascope. The scanning for these is defined in the DPX file specification as follows:
At full frame,
4K - 4,096 x 3,112
2K - 2,048 x 1,556
1K - 1,024 x 778
Aspect Ratio - 1,316
These scan sizes generally represent the valid image size within the total frame size indicated by full frame. It is generally considered that all scanning is done at full frame size as this avoids the complexity of adjusting the scanner optics or raster size with risks associated with repeatability and stability. Although these digital image sizes came about as formats for scanning film, new digital cinematography cameras are also using them, exactly or nearly. In the file-based world of DI the exact size does not matter, as long as it’s managed correctly and, most importantly, able to produce high quality output for release prints and digital cinema – where the DCI specifies exact sizes.
Finishing - Finishing services are generally performed at or near the end of editing a movie, episode, or commercial. These services can include conforming, final color, VFX work, final audio mixing, creating deliverables, and archiving of the completed project and elements.
Gamma- An encoding technique for handling grayscale in video and HDTV systems. For accommodating extreme highlights and shadows, gamma encoding has been surpassed by Sony S-Log 2 logarithmic encoding and RAW recording.
GPU - Graphics processing unit. A chip or digital circuit designed specifically for processing graphics and generally providing the main processing power of a computer graphics card. Having much more graphics power and speed than central processor unit (CPU) chips, GPUs can take over many of complex 2D and 3D processing tasks from the CPU.
Grayscale- The range of possible tones from deepest black to brightest white. Several breakthroughs in digital motion picture cameras and workflow involve improvements in grayscale handling from conventional video gamma encoding to S-Log encoding and ultimately to RAW recording.
Grading - Grading is the process of adjusting the color of a clip to get the best out of the material or to match shots perhaps taken at different times or in different lighting conditions. In film, grading was traditionally done when going from internegative to print film by controlling the exposure of the film. In television it was traditionally done off the telecine for commercials or tape-to-tape for longform programs. Either way, both processes were by their nature linear.
The advent of non-linear grading systems has once again changed the rules for color correction. While there is still a requirement for an initial technical scan for film-originated material, from this point on, grading can – and often does – happen at multiple stages in the post production process. It is now possible to color correct individual layers within composites (which may be shot under different lighting conditions) to ensure that the result is harmonious within itself, and non-linear working means that scene-to-scene comparisons and corrections can be made as the edit unfolds. This eases the final grading process when the finished work is reviewed interactively with the director/client.
Secondary color correction is aimed at controlling a particular color or a narrow range of colors – such as those on a car or product. Here typically the hue, gain and saturation can be changed. There are also several methods available for defining the object, area or ‘window’ of required color correction such as using wipe-pattern shapes, drawing an electronic mask by hand or a combination of automatic and by-hand methods.
See also - Final Color
H.264 - a standard for video compression, and is currently one of the most commonly used formats for the recording, compression, and distribution of high definition video.
High Dynamic Range - technique that allows a greater dynamic range of exposure than normally possible, with the intention of accurately representing the wide brightness range of real scenes ranging from direct sunlight to shadows. This is sometimes used with computer-generated images or photography (by taking several pictures of a scene over a range of exposure settings) and it can provide a large amount of headroom for the adjustment of images in post production.
Illegal Colors - Colors that lie outside the limits, or gamut, of a particular color space. These can be generated when moving images from one color space to another, as they all have different boundaries, or as the result of color processing.
K- 1024 pixels of horizontal resolution. The term arose in digital film scanning and is now frequently used to describe 2K, 4K and 8K digital cinema systems.
Latitude - Latitude is the capacity of camera negative film to hold information over a wider brightness range than is needed for the final print. This provides a degree of freedom that is needed because it is impossible to see if the exposure is totally correct until the film comes back from the laboratory. Latitude provides room for later adjustment in printing to compensate for over or under exposure. This contrasts with using digital cinematography where it is possible to see the results immediately and make any required adjustment at the shooting stage. This procedure can reduce the need for a very wide latitude (which cannot extend to the release prints) by ensuring the lighting and camera set ups are always correct at the shoot.
Linear Tape-Open (LTO) - An open-format tape storage technology developed by Hewlett-Packard and IBM in the early 90's. Since then, these tapes have become a standard in the industry as the most secure way to backup valuable work and files.
Luminance - A component of video: the black and white or brightness element, of an image. It is written as Y, so the Y in Y,B-Y,R-Y, YUV, YIQ and Y,Cr,Cb is the luminance information of the signal.
See Also - Chrominance
LUT - Look-up table. This is a table of multipliers used to convert values from one type of digital scale to another. The LUT will contain a distinct multiplying value for every input digital value. For example, a LUT can be used to convert brightness values measured by an electronic sensor, which will be linear, to logarithmic values which more accurately reflect our perception – and the way film responds to light. As modern post production equipment is expected to work across media – film, TV, DVD, D-cinema, etc., there is increasing need for conversions using LUTs to suit differences in color space between display systems as well as in the media themselves.
See Also - Color Management, Color Cube (3D LUT)
Metadata- Quite simply metadata is data within data. It refers to all of the info that a video or audio file might contain (timecode, scene, take, cam roll, etc). Through the use of software, Digital Chromatics can alter the metadata if needed.
See Also - Essence
Moiré - Refers to a distortion that appears as patterning seen on images where two similar fine patterns overlap, for example two fine gratings can appear to produce diagonal lines. The affect can appear even when one to the patterns is normally invisible, such as the sampling frequency of the image. In a good image system this should be avoided by use of filters but, for instance, the fine detail of a grid pattern may suddenly collapse and appear as curves or diagonal lines as the camera zooms in and the pattern detail nears the digital sampling frequency.
MXF - The Material eXchange Format is aimed at the exchange of program material between file servers, digital video recorders, editing systems, tape streamers and digital archives, etc. It is a container, or wrapper, format that supports a variety of differently coded streams of essence (images and sound), together with metadata describing the material in the MXF file.
Native Editing- Editing performed on the camera original or “native” file formats. All Sony CineAlta camera formats are supported by selected major nonlinear editing systems.
Non Drop-Frame Timecode - Timecode that does not use drop-frame and always identifies 30 frames per second. This way the timecode running time will not exactly match normal time unless it is an exact 30f/s. The mismatch amounts to 1:1000, an 18-frame overrun every 10 minutes.
Offline vs Online Editing- Offline is typically editing with lower resolution footage on a large project where storage is an issue. The footage is captured and edited until the project is cut and then recaptured at full quality and finished for the Online editing.
One Light Pass - A one-light pass refers to a film-processing lab giving the same exposure to a defined length of film, during printing. This is the simplest, quickest and cheapest way to print all the film and the results are typically used for making rushes, dailies, etc. These are often subsequently telecined and recorded to videotape as a reference for the offline decision-making process.
Original Camera Negative (OCN) - This is the exposed and developed negative film from the camera. Initially it is the only visual record of a shoot and so is highly valuable. Before digits got involved with film the OCN had to withstand being cut, edited and copied to a make a few master interpositives. Now it can be run just once through a film scanner and then put on the shelf. This reduces the risk of damage and makes a digital copy, that itself can easily be copied for further security.
ProRes- A family of lossy intermediate codecs designed by Apple. ProRes reduces storage and bandwidth requirements in postproduction. It supports resolutions from SDTV up to 4K.
QFHD- Short for Quad Full HD, an image of 3840 x 2160, the resolution used in consumer Ultra HD television systems. This is closely related to the digital cinema 4K standard of 4096 x 2160.
RAID (Redundant Array of Independent Drives) - A grouping of standard disk drives together with a RAID controller to create storage that acts as one disk to provide performance beyond that available from individual drives.
See Also - SAN
Raw Data - Data that has not been processed for use. Digital cinematography cameras can generally output raw data of images that includes the full brightness range it can extract from a scene, and a signal that has not been processed for color.
Rec. 709- Short for ITU-R Recommendation BT.709, an international high definition standard. Rec. 709 specifies pixel count, frame rates, color encoding and color gamut. Each of these television-based Rec. 709 parameters has been exceeded by recent digital cinema cameras.
Relinking- The process of going back to the camera original file formats for the color grade, after editing a transcoded or offline file format. Recommended for highest quality.
Resolution - A measure of the finest detail that can be seen, or resolved, in a reproduced image. Whilst it is influenced by the number of pixels in the display (e.g. high definition 1920 x 1080, broadcast SDTV 720 x 576 or 720 x 487) the pixel numbers do not define the resolution but merely the resolution of that part of the equipment chain. The quality of lenses, picture displays, film processes, edit systems and film scanners, etc., in fact any element in the program stream (from scene to screen), must be taken into account in assessing overall system resolution.
RGB - The abbreviation for the Red, Green and Blue signals, the primary colors of television. Cameras and telecines have red, green and blue receptors, the TV screen has red, green and blue phosphors or LEDs. RGB is digitized with 4:4:4 sampling which generates 50% more data than 4:2:2.
Secondary Color Correction - Primary color correction, or grading, is applied to the whole image. Secondary correction is applied only to selected areas of the image – the area being defined by a pattern generator (e.g. a circle or rectangle), by curved lines or derived from the object itself using chromakey techniques – or any combination of all these. This way, for example, the color of a car in a clip could be changed from say, red to green.
S-Gamut- The range of colors reproduced by the Sony F65 and F55 cameras, S-Gamut extends far beyond HDTV Rec. 709, beyond other digital motion picture cameras and even beyond the range of print film. S-Gamut is made possible by a Color Filter Array (CFA) with very high- purity dyes. Sony has released to our Alliance Partners a selection of 3D LUTs (look up tables) that will simplify grading from S-Gamut to Rec. 709 for projects that have a requirement for Rec. 709 finishing. These 3D LUTs will be available for customers to download as well.
S-Log 2- A Sony system for logarithmic grayscale encoding that captures greater exposure latitude than gamma encoding. Sony’s original S-Log curve was created for the F35 and F3 cameras and captured their full latitude: about 12 stops. With the latest F5, F55 and F65 cameras capturing 14 stops, Sony needed to revise this curve. The result is S-Log 2, which can handle the extended exposure latitude now available.
SRFile- The Sony MPEG-4 SStP codec that originated with HDCAM-SR® tape recording, now used for high definition file-based recording at 880 Mbps (SR-HQ), 440 Mbps (SR-SQ) and 220 Mbps (SR-Lite).
Stop - A ratio of amount of light where one stop represents a x2 change – doubling or halving of the amount of light. The operating range of film and electronic light sensors, such as CCDs and CMOS, are quoted in stops. Typically, a camera’s shutter speed and the lens’s aperture setting restrict the light arriving at the sensors/film so the mid brightness of the required scene corresponds to the middle of the sensor’s or film’s sensitivity range.
Sync - On the set of a major production, audio and video are generally recorded at the same time, but on different devices. In post production the audio and video clips are merged, or synced, creating 1 file with audio and video together.
Transcoded Editing- The process of editing offline files that are different from the original camera file formats. Transcoded editing often uses Avid® DNxHD® or Apple® ProRes® files. These typically have lower bitrates and lower quality than the original camera files.
Ultra HD- Consumer Electronics Association (CEA) designation for television systems with Quad Full HD resolution: 3840 x 2160. This is closely related to the digital cinema 4K standard of 4096 x 2160.
Up-Res - The process which increases the size, or number of pixels used to represent an image by interpolating between existing pixels to create the same image on a larger format. There is no implied change of vertical scan rate. Despite its name, the process does not increase the resolution of the image; it just spreads the same over a larger canvas. The quality of the result depends on that of the interpolation. Speed is an issue for realtime work, as good quality requires a large amount of processing – which increases with the picture area.
Visual Effects (Visual F/X, VFX) - Computer generated images created for use in film and television. These images can be animations or realistic creations. VFX can range in complexity from simply touching up the skin on an actors face, to digitally creating characters or complete environments for actors to interact within. VFX are utilized mainly to create images that would otherwise be too expensive, difficult, or impossible to create in a real world setting.
Viewing Dailies - These are the rendered (or transcoded) files that are uploaded on an iPad® or burned onto a DVD for Producers, Directors, and Post to view.
See Also - Dailies, Editorial Dailies
XAVC Recording- The Sony system that uses next-generation H.264/AVC Intra-frame coding. Establishes a cost-efficient system for High Frame Rate HD and 4K/60p production.
XML- Short for Extensible Markup Language. After editing transcoded offline files, XML files output by a nonlinear editor can enable returning to full-resolution camera original files during the color grade. This process is called relinking or round-tripping.
2K- An image with 2048 pixels horizontal resolution. In the Digital Cinema Initiatives (DCI) standard, an image container of 2048 x 1080. This is closely related to 1080p high definition (1920 x 1080). The Sony F55, F5 and FS700 cameras can output a 2K image without windowing, which means no loss in angle of view versus the 4K image.
4K - Currently the most popular of the higher resolution in digital cinematography and film. The term 4K refers to the horizontal resolution of these formats, which are all on the order of 4,000 pixels. Historically many aspects of handling 4K have been problematical – not least due to the large data rate (over 1.1 GB/s) and the amount of data produced – about 4 TB/h. However modern technologies applied all the way from scene to screen have now made 4K far more readily accessible. For some time, 4K has been the format of choice for some complex effects shots where it was felt these needed extra quality (over 2K) to still look good after all the necessary processes are completed, specially where the finished shots are inter-cut with the original camera data. Now it is increasingly being used for entire movies.
4:2:0 - A sampling system used to digitize the luminance and color difference components (Y, R-Y, B-Y) of a video signal. It decreases the overall data by 25 percent against 4:2:2 sampling and the color information has a reasonably even resolution in both the vertical and horizontal directions. 4:2:0 is widely used in MPEG-2 coding meaning that the broadcast and DVD digital video seen at home is usually sampled this way.
4:2:2 - A ratio of sampling frequencies used to digitize the luminance and color difference components (Y, R-Y, B-Y) of an image signal. The term 4:2:2 denotes that for every four samples of the Y luminance, there are two samples each of R-Y and B-Y, giving less chrominance (color) bandwidth in relation to luminance. This compares with 4:4:4 sampling where full same bandwidth is given to all three channels – in this case usually sampled as RGB.
4:4:4 - One of the ratios of sampling frequencies used to digitize the luminance and color difference components (Y, B-Y, R-Y) or, more usually, the RGB components of a video signal. In this ratio there is always an equal number of samples of all components. RGB 4:4:4 is commonly used in high-end post including that used for digital cinematography.
In the converged media world, big screen requirements for cinema demand a new high level of picture quality. Film is commonly scanned in RGB for digital intermediate and effects work, and recorded directly to disks. The signal is then kept in the RGB form all the way through the DI process to the film recorder – making the best use of the full RGB data. For the rapidly growing market of digital cinema exhibition the DCI has recommended X ́Y ́Z ́ chromaticity which can be derived from RGB using a 3D LUT.
10-bit lin - A type of digital sampling of analog images that creates 10-bit numbers to describe the post gamma corrected analog brightness levels of an image.Lin, short for ‘linear’, means the levels are assigned equally to the levels of the post gamma corrected analog signal they describe.
See also: 10-bit log
10-bit log - This usually refers to a 10-bit sampling system that maps analog values logarithmically rather than linearly. It is widely used when scanning film images which are themselves a logarithmic representation of the film’s exposure. This form of sampling is now available directly from some digital cinematography cameras.
See also: 10-bit lin
16-Bit Linear RAW- Type of RAW recording used by the Sony F65, F55 and F5 (in conjunction with the companion SR-R4 and AXS-R5 recorders). Each additional bit doubles the number of discrete colors that be recorded per RGB channel. Sony 16-bit RAW retains 16 times as many colors as conventional 12-bit RAW and 64 times as many colors as 10-bit RAW. By design, 16-bit RAW is the perfect gateway for 16-bit linear ACES post-production.