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    "abstract": "For most of cinema history, the defining factor in the post-production “look” of captured imagery was the print stock. In addition to serving the technical function of transforming scene-referred imagery for display, print stocks were engineered by color scientists to impart preferential color characteristics, and selected by filmmakers based on these qualities. — As the physical medium of the print stock has been retired from contemporary image mastering workflows, so too has the guiding principle of a global creative transform. This is neither necessary nor beneficial; in fact, modern colorists are more in need of this concept than ever. — With the expanding color gamut and dynamic range capabilities of cameras and displays, unifying the imagery of a given piece of content has become increasingly challenging. This has led to the development of systems which address the $\\underline{technical}$ aspects of the challenge, most notably ACES. Such initiatives and their broad adoption demonstrate an industry-wide recognition that world-class color grading demands world-class engineering. — Yet in spite of this recognition, there exists no initiative aimed at supporting the $\\underline{creative}$ aspects of unifying motion imagery at the macro level. As a result, colorists are left to either re-purpose traditional color correction tools, or to step into the role of image scientist to develop their own. — This paper outlines a proposed framework for the design of digital print stocks, composed of a set of manipulations whose parameters can be intuitively modified by artists, resulting in a global look which can be deployed within any imaging pipeline.",
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    "authors": [
      {
        "affiliation": "Senior Colorist",
        "name": "Cullen Kelly"
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    "copyright": {
      "holder": "Society of Motion Picture and Television Engineers, Inc.",
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      "year": "2021",
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    "docId": "10.5594-M001947",
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      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Conference Repository/Conference Papers/2021/9779667/9779668/09780319.xml) via idamsIngest.js",
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    "docLabel": "SMPTE Meetings and Conferences ( November 2021)",
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      "version": "smpte-idams-publication@v1"
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    "docTitle": "Digital Print Stock Design: A Framework for the Post-Film Era",
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      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Conference Repository/Conference Papers/2021/9779667/9779668/09780319.xml) via idamsIngest.js",
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    "docType": "Conference Paper",
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    "doi": "10.5594/M001947",
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    "href": "https://doi.org/10.5594/M001947",
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    "keywords": [
      "Color Grading",
      "Look Development",
      "Film Print",
      "DCinema",
      "HDR",
      "Color Management",
      "ACES"
    ],
    "keywords$meta": {
      "confidence": "high",
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    "number": "11",
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    "pages": "1–31",
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    "publicationDate": "2021-11-09",
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      "city": "White Plains, NY",
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      "country": "USA",
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