Colour Space

What this is about

Colour values in a file mean nothing on their own; they only make sense inside a stated space. The same numbers read as neutral in Rec. 709 and as oversaturated in a wide-gamut space, which is the everyday cause of clips that shift when they move between edit system, browser and television. Cameras capture wider spaces than most screens can show, so conversion is a normal step rather than a fault. What breaks projects is an undeclared space — nobody knows what the numbers were supposed to mean.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

Where this differs from the general case:

• Numbers without a declared colour space are ambiguous; the tag matters as much as the pixels
• Cameras record wider gamuts than delivery screens show, so conversion belongs in the workflow
• Judge colour on a calibrated monitor in the target space, never on a laptop panel

With TillyGen

Because review feedback in TillyGen is written against one shared cut, colour notes refer to the same version instead of to somebody's private export.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.