Vancouver Post Alliance Society

### Context Profile for Vancouver Post Alliance Society

1. **Organization Mission & Cause**:
   - The Vancouver Post Alliance Society (VPAS) is dedicated to supporting the post-production community in Vancouver. Their mission focuses on providing resources, networking opportunities, and professional development for individuals in the film and media industry, particularly for students and recent graduates. They aim to bridge the gap between education and employment in the post-production sector, fostering a vibrant community of skilled professionals.

2. **Type of Activities**:
   - VPAS organizes various activities, including:
     - **Career Development Webinars**: Such as the "School's Done. What Comes Next?" event, aimed at helping students and recent graduates navigate their career paths in post-production.
     - **Networking Events**: Opportunities for professionals to connect and collaborate.
     - **Workshops and Panels**: Featuring industry experts who share insights and experiences.
     - **Community Programs**: Initiatives designed to enhance skills and knowledge within the post-production field.

3. **Tone of Voice**:
   - The tone of the website and communications is **friendly, supportive, and professional**. It conveys a sense of community and encouragement, aimed at empowering individuals in their career journeys. The language is accessible and engaging, making it inviting for students and newcomers to the industry.

4. **Emoji Usage**:
   - The organization does not prominently use emojis in their communications. The tone remains professional and straightforward, focusing on clear and informative content without the casual flair that emojis might provide.

5. **Key Facts**:
   - **Founding Info**: Specific founding details were not available on the website.
   - **Scale**: The organization appears to be focused on the local Vancouver community, specifically targeting students and recent graduates in the post-production sector.
   - **Impact Metrics**: While specific metrics were not detailed, the organization emphasizes its role in career development and community building.
   - **Volunteer Info**: There is no explicit mention of volunteer opportunities on the website, but the community-oriented nature of the organization suggests potential for volunteer involvement.

6. **Writing Guidelines**:
   - **Style**: Use a friendly and professional tone that encourages engagement and community participation. Avoid overly formal language; instead, opt for approachable and relatable phrasing.
   - **Content Structure**: Use clear headings and bullet points for easy readability. Ensure that information is concise and directly relevant to the audience's needs.
   - **Call to Action**: Include strong, motivating calls to action that encourage participation in events and programs.
   - **Inclusivity**: Ensure language is inclusive and welcoming to all individuals, particularly those entering the post-production field.

This context profile provides a comprehensive overview of the Vancouver Post Alliance Society, enabling AI assistants to create tailored and effective content that resonates with the organization's mission and audience.

LXCL:If you have an exclusive Member promo code, please use it when purchasing

Masterclass Fee

In this one-day masterclass, we unpack the colourspaces that drive today&rsquo;s professional imaging pipelines &ndash; from camera and VFX working spaces through grading environments to final delivery in cinema, broadcast, UHD/HDR/WCG, and streaming. We&rsquo;ll connect the dots between Rec.709/BT.1886 SDR monitoring, theatrical P3 grading, Rec.2020 (BT.2020) wide-gamut UHD delivery, and metadata-driven HDR formats such as Dolby Vision. Why are there so many colourspaces in digital cinema/UHD/HDR/WCG/streaming&nbsp;pipelines? We&rsquo;ll break down the distinct requirements &ndash; and colourspaces &ndash; used at each stage: &bull; Colourspaces for cameras &amp; VFX/CGI &bull; Colourspaces for grading and look development &bull; Colourspaces for distribution (P3 theatrical, Rec.709/BT.1886 SDR, Rec.2020 HDR) &bull; Colourspaces for presentation/display, including HDR10, HLG, and Dolby Vision You&rsquo;ll see how scene-referred camera spaces and ACES working spaces are transformed into&nbsp;display-referred deliverables for: &bull; D-cinema masters in P3 (typically P3-D65 or P3-DCI) &bull; Broadcast and streaming SDR in Rec.709 with a BT.1886 (&asymp;2.4) EOTF &bull; UHD/HDR streaming that often uses P3 primaries in a Rec.2020 container with PQ or HLG transfer functions, including Dolby Vision trims and metadata. Who this masterclass is for: &bull; Cinematographers &amp; DITs &bull; Colourists &amp;amp; colour assistants &bull; Studio colour scientists &bull; VFX supervisors &amp; colour-pipeline TDs &bull; Post-production supervisors &bull; Lighters, shaders, look developers What you&rsquo;ll learn: We&rsquo;ll explore both the theoretical and practical aspects of the colour spaces most commonly used in production, post-production, and presentation of movies, broadcast, streaming video, and games. You will: &bull; Understand why the requirements at capture, grading, and delivery are different, and how the transforms among camera, ACES, P3, Rec.709, and Rec.2020 spaces are managed. &bull; Gain a deep understanding of power-function (&ldquo;gamma&rdquo;) and logarithmic/quasi-log (&ldquo;log&rdquo;) encoding, and how they relate to BT.1886 (2.4) and 2.6 gamma reference environments. &bull; Learn how OpenEXR, CTL, ACES, and OpenColorIO are used to implement and standardize transforms between scene-referred and display-referred colourspaces. &bull; Understand the implications of sRGB, 2.2, 2.4 (BT.1886), and 2.6-gamma viewing for SDR monitoring, and how they contrast with HDR10, PQ, HLG, and Dolby Vision HDR workflows. &bull; Appreciate why video in distribution is always display-referred &ndash; even when the upstream pipeline is scene-referred &ndash; and what that means when mastering for P3 cinema, Rec.709 SDR, and Rec.2020/PQ or Dolby Vision HDR deliverables. Lots of graphs and equations will be shown and explained. If you have first-year university math,&nbsp;you&rsquo;ll be able to dive deeply into log coding, the CIE chromaticity diagram, and the geometry of colour gamuts such as P3 and Rec.2020. If your background is high-school math, we&rsquo;ll still cover the necessary fundamentals, so you come away with a solid working understanding of modern colourspaces and HDR/SDR systems. About Charles Poynton Charles Poynton, PhD, is an independent researcher in image and colour science based in Toronto, Canada. He specializes in the physics, mathematics, engineering, and algorithms of digital colour imaging systems, with particular focus on digital cinema, HDR/WCG, and modern distribution systems such as Dolby Vision and HDR streaming platforms.

<span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip" fr-original-style="" style="background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; color: rgb(42, 42, 196); padding: 1px 8px; font-size: 11px; display: inline-block; margin: 0px; overflow-wrap: anywhere; user-select: none; box-sizing: inherit;">First name,Thank you so much for your purchase.&nbsp; We will see you on December 13 at 9 am, at Elemental Post, Suite 240, Powell Street, Vancouver, BC

In this one-day masterclass, we unpack the colourspaces that drive today’s professional imaging pipelines – from camera and VFX working spaces through grading environments to final delivery in cinema, broadcast, UHD/HDR/WCG, and streaming. We’ll connect the dots between Rec.709/BT.1886 SDR monitoring, theatrical P3 grading, Rec.2020 (BT.2020) wide-gamut UHD delivery, and metadata-driven HDR formats such as Dolby Vision. Why are there so many colourspaces in digital cinema/UHD/HDR/WCG/streaming pipelines? We’ll break down the distinct requirements – and colourspaces – used at each stage: • Colourspaces for cameras &amp; VFX/CGI • Colourspaces for grading and look development • Colourspaces for distribution (P3 theatrical, Rec.709/BT.1886 SDR, Rec.2020 HDR) • Colourspaces for presentation/display, including HDR10, HLG, and Dolby Vision You’ll see how scene-referred camera spaces and ACES working spaces are transformed into display-referred deliverables for: • D-cinema masters in P3 (typically P3-D65 or P3-DCI) • Broadcast and streaming SDR in Rec.709 with a BT.1886 (≈2.4) EOTF • UHD/HDR streaming that often uses P3 primaries in a Rec.2020 container with PQ or HLG transfer functions, including Dolby Vision trims and metadata. Who this masterclass is for: • Cinematographers &amp; DITs • Colourists &amp;amp; colour assistants • Studio colour scientists • VFX supervisors &amp; colour-pipeline TDs • Post-production supervisors • Lighters, shaders, look developers What you’ll learn: We’ll explore both the theoretical and practical aspects of the colour spaces most commonly used in production, post-production, and presentation of movies, broadcast, streaming video, and games. You will: • Understand why the requirements at capture, grading, and delivery are different, and how the transforms among camera, ACES, P3, Rec.709, and Rec.2020 spaces are managed. • Gain a deep understanding of power-function (“gamma”) and logarithmic/quasi-log (“log”) encoding, and how they relate to BT.1886 (2.4) and 2.6 gamma reference environments. • Learn how OpenEXR, CTL, ACES, and OpenColorIO are used to implement and standardize transforms between scene-referred and display-referred colourspaces. • Understand the implications of sRGB, 2.2, 2.4 (BT.1886), and 2.6-gamma viewing for SDR monitoring, and how they contrast with HDR10, PQ, HLG, and Dolby Vision HDR workflows. • Appreciate why video in distribution is always display-referred – even when the upstream pipeline is scene-referred – and what that means when mastering for P3 cinema, Rec.709 SDR, and Rec.2020/PQ or Dolby Vision HDR deliverables. Lots of graphs and equations will be shown and explained. If you have first-year university math, you’ll be able to dive deeply into log coding, the CIE chromaticity diagram, and the geometry of colour gamuts such as P3 and Rec.2020. If your background is high-school math, we’ll still cover the necessary fundamentals, so you come away with a solid working understanding of modern colourspaces and HDR/SDR systems. About Charles Poynton Charles Poynton, PhD, is an independent researcher in image and colour science based in Toronto, Canada. He specializes in the physics, mathematics, engineering, and algorithms of digital colour imaging systems, with particular focus on digital cinema, HDR/WCG, and modern distribution systems such as Dolby Vision and HDR streaming platforms.

Vancouver Post Alliance Society

Charles Poynton Masterclass: Colourspaces in D-cinema, ACES, and Streaming

Elemental Post

Masterclass Fee

$350