SIGGRAPH 2010 Course: Color Enhancement and Rendering in Film and Game Production
At the moment only a few of the talks have course notes available; the remainder will
be posted shortly after SIGGRAPH.
Production of convincing and compelling scene representations on limited display media is
a challenge common to painting, photography, film production, and computer graphics. The
core of the problem is finding a transformation from the colors in the original scene to
those in the final image. For almost 200 years, this transformation has been primarily
determined by the chemical and optical properties of film, which have been carefully
engineered for pleasing results (the "film look"). Digital color enhancement has vastly
extended the variety of possible looks, but the "film look" remains the default baseline.
Despite its importance in film and game production, the transformation from scene-referred
to display-referred colors (also called "rendering"; not to be confused with the more
common computer graphics meaning of the term) is little-understood by many practitioners.
This course covers the relevant theory, practical production methods, techniques and
considerations relating to color enhancement and rendering in both film and game
- 9:00 - 9:05 Introduction (Naty Hoffman)
- 9:05 - 9:35 From Scene to Screen (Josh Pines)
- 9:35 - 9:55 Color Management (Joseph Goldstone)
- 9:55 - 10:15 Color Spaces and Operations (Jeremy Selan)
- 10:15 - 10:35 Color at Pixar: Ingredients for Creativity (Dominic Glynn)
- 10:35 - 10:50 Break
- 10:50 - 11:10 The Craft of Color Grading (Lou Levinson)
- 11:10 - 11:30 Filmic Tonemapping for Real-time Rendering (Haarm-Pieter Duiker)
- 11:30 - 12:00 Film Simulation for Videogames (Yoshiharu Gotanda)
- 12:00 - 12:15 Color Enhancement for Videogames (Naty Hoffman)
Naty Hoffman is a Technical Director at Activision Studio Central, where he assists
Activision's worldwide studios with graphics research and development. Prior to
joining Activision in 2008, Naty worked for two years on God of War III
at SCEA Santa Monica Studio. Naty has also worked at Naughty Dog (where he had an
instrumental role in the development of the ICE libraries for first-party PS3
developers), at Westwood Studios (where he was graphics lead on Earth and
Beyond) and at Intel as a microprocessor arcchitect, assisting in the
definition of the SSE and SSE2 instruction set extensions.
Haarm-Pieter Duiker founded Duiker Research following research and
development work on film projects such as The Matrix sequels,
The Fantastic Four, and Catwoman where his field
experience spanned data capture, on-set photography, visual effects
shot production and more.
Duiker more recently finished work as a CG Supervisor for Lighting
on 2012 and Speed Racer at Digital Domain. Prior
to that he worked on the unnamed Spielberg project at Electronic Arts,
focusing on ways to bring a more "filmic" experience to video games.
Duiker's work has been patented and published, with papers and sketches
featured at conferences such as SIGGRAPH. He has also been nominated for a
Scientific and Technical Academy Award. Duiker holds a degree in Computer
Science focusing on Computer Graphics from the University of California at
Dominic Glynn is a color scientist, mathematician & lead engineer at
Pixar Animation Studios. He heads a group of like-minded geeks responsible
for the mastering of all Pixar's features & shorts in all delivery formats
ranging from theatrical exhibition through to home video & beyond.
He has worked on Cars, Ratatouille, WALL-E,
Up and Toy Story 3, and continues to augment the
color-centric foundation in production for successful delivery of Pixar's
upcoming slate of films.
Joseph Goldstone has authored, edited or contributed heavily to several
of the documents defining the Academy of Motion Picture Arts and Sciences'
Image Interchange Framework; designed and built two systems for spectral
measurement of projected film print (and directed the construction of a third);
created mathematical models of film scanners and digital projectors; written
probably 150K lines of color-related code over the last ten years, and
consulted on the establishment of color-managed workflows as well as
straightening out some pretty contorted existing pipelines. He resides in
New York City, at least as much as a rather volatile schedule allows.
Yoshiharu Gotanda is the CEO and CTO of tri-Ace, Inc, which is a game
development studio in Japan.
Lou Levinson has been a colorist in the Hollywood post-production community
since 1980, and rumors of an earlier career yet still occasionally leak
Currently a supervising colorist at Laser Pacific, he has been an associate
member of the American Society of Cinematographers, and hence a member in
good standing of the "walking volunteered brigade", since 1992. He is
currently the chair of the Digital Intermediate Subcommittee of the ASC
He received a Masters degree of Fine Arts in 1979 from the Achool of the Art
Institute of Chicago, and since then has been trying to figure out how he
fell into this career path.
He has worked with many of the most recognizable names in Hollywood
and still has some of his hair left, although this may to some degree
Joshua is currently in charge of imaging and color science
projects at Technicolor Digital Intermediates, which provides
the motion picture industry with digital color correction
processes for theatrically released films.
He joined Technicolor after more than 10 years at Industrial
Light & Magic, where he supervised their film scanning/recording
department from its inception, and worked extensively with both
traditional and digital cinema technologies. He started his career
teaching film courses at the Cooper Union in New York City after
earning his degree in electrical engineering there. He began working
in visual effects at MAGI in 1982 at the tail end of their work on
Tron, went on to lead the computer graphics division at R/Greenberg
Associates in New York City, and then supervised film effects and
film recording at deGraf/Wahrman in Los Angeles before working for
ILM. He has received a technical achievement award from the Academy
of Motion Picture Arts and Sciences, and has credits on several zillion
Joshua has always thought that computers could be a useful tool
in making movies better, and he still hopes that one day this may
Jeremy Selan is the Color Pipeline Lead at Sony Pictures Imageworks -
focused on the areas of color, lighting, and compositing. His work has
been used on numerous films including Spider-Man 2, Cloudy
With a Chance of Meatballs, and most recently Alice in
Wonderland. Jeremy is also one of the founders of Katana,
Sony's in-house lighting and compositing tool. His work on colorimetry
has been featured in GPU Gems 2 and Siggraph's Electronic Theater, and
he is proud to spearhead Sony's new effort to create an open source
color pipeline - the OpenColorIO project.