11.1 Color Space11.1.1 Color Models11.1.2 Primary Chromaticities11.1.3 Gamut11.1.4 The Transfer Function11.1.5 White Point11.2 HDTV11.2.1 Rec. 709 Color Space11.2.2 Frame Formats11.2.3 Scan Modes11.2.4 Working With Interlaced Video11.2.5 De-interlacing11.2.5.1 Scan Line Interpolation11.2.5.2 Field Averaging11.2.5.3 Optical Flow Interpolation11.2.6 Color Subsampling11.2.7 Keying 4:2:2 Video11.2.8 Frame Rates11.2.8.1 Integer: 24, 25, 30, 60 fps11.2.8.2 Float: 23.98, 29.97, 59.94 fps11.2.9 Timecodes11.2.10 Video File Formats11.2.11 Film Scanners11.2.12 Anamorphic Video11.3 UHDTV11.3.1 Rec. 2020 Color Space11.4 Digital Cinema Images11.4.1 P3 Color Space11.4.2 Digital Cameras vs. Film11.4.3 The Bayer Array11.4.4 Sensor Crop11.4.5 HFR – High Frame Rate11.4.6 The DCI11.5 Working in Linear11.5.1 What Exactly Is Linear?11.5.2 Color Correcting11.5.3 Transformations and Filtering11.5.4 CG11.6 Log Images11.6.1 What Are Log Images?11.6.2 Why We Need Log Images11.6.2.1 Human Vision11.6.2.2 Data Compression11.6.3 Working With Log Images11.7 Metadata11.8 Artificial Intelligence and VFX11.8.1 A Brief History11.8.2 Terminology11.8.3 AI for Compositing11.8.3.1 Rotoscoping11.8.3.2 Speed Changes11.8.3.3 Upscale and Sharpen11.8.3.4 Inpainting11.8.3.5 Greenscreen Keying11.8.3.6 Image Generation11.8.4 De-aging With Deep Fakes11.8.5 Face Replacements11.8.6 The Future11.9 OpenColorIO11.10 ACES Color Management11.10.1 The ACES Workflow11.10.2 The ACES Gamut11.10.3 What About Video Productions?11.11 Conclusion