├── README.md ├── acronyms.txt ├── announce.txt ├── cfp.html ├── homepage.html ├── media ├── UCS-rec2020-ws.svg ├── banner.png ├── banner.svg ├── colour-slice.png ├── colour-small.png ├── speakers │ ├── Abebe.jpg │ ├── Andrew_Cotton.jpg │ ├── Andy_Avatar_Crop.png │ ├── Bremford.jpg │ ├── Chris_Bai_2017-09.png │ ├── Dmitry.jpg │ ├── Lea_Verou.jpg │ ├── MDPhoto.jpg │ ├── RussellHeadshot.jpg │ ├── Timo_Kunkel.jpg │ ├── chris-pic-1k5.jpg │ ├── felipe_erias_square.jpg │ ├── placeholder.jpg │ └── zachary-cava.jpg ├── twitter-banner.png ├── twitter-img.png └── w3c_home_nb-v.svg ├── overview.html ├── script.js ├── speakers.html ├── sponsor.html ├── style.css ├── talks.html ├── terms.txt └── w3c.json /README.md: -------------------------------------------------------------------------------- 1 | # W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web 2 | 3 | Web site of a virtual [W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web](https://www.w3.org/Graphics/Color/Workshop/) that will take place in mid-May to mid-June 2021. 4 | -------------------------------------------------------------------------------- /acronyms.txt: -------------------------------------------------------------------------------- 1 | ACES Academy Color Encoding System 2 | AV1 AOMedia Video 1 3 | AVIF AV1 Image Format 4 | BRDF Bidirectional Reflectance Distribution Function 5 | CAT Chromatic Adaptation Transform 6 | CIE Commission Internationale de l´Eclairage 7 | CMM Color Management Module 8 | CMYK Cyan, Magenta, Yellow and blacK 9 | CMYKOGV CMYK plus Orange, Green, Violet 10 | CSS Cascading Style Sheets 11 | D50 Daylight spectrum, 5000K color temperature 12 | D65 Daylight spectrum, 6500K color temperature 13 | EDID Extended Display Identification Data 14 | EME Encrypted Media Extensions 15 | EOTF Electro-Optical Transfer Function 16 | FOGRA Forschungsgesellschaft für Druck- und Reproduktionstechnik 17 | GPU Graphics Processing Unit 18 | HDMI High-Definition Multimedia Interface 19 | HDR High Dynamic Range 20 | HEIF High Efficiency Imafe file Format 21 | HLG Hybrid Log-Gamma 22 | HSV Hue, Saturation, Value 23 | HVS Human Visual System 24 | ICC International Color Consortium 25 | iccMAX International Color Consortium next-generation (ICC.2) 26 | ICS Interoperability Conformance Specification 27 | ILM Industrial Light and Magic 28 | ISO International Standards Organization 29 | ITU International Telecommunication Union 30 | LCH Lightness, Chroma, Hue 31 | MSE Media Source Extensions 32 | OCIO Open Color Input-Output 33 | OETF Opto-Electrical Transfer Function 34 | OOTF Opto-Optical Transfer Function 35 | OpenEXR File format by Industrial Light and Magic 36 | PBR physically-based rendering 37 | PCS Profile Connection Space 38 | PDF Portable Document Format 39 | PDF/A PDF Accessibility 40 | PDF/UA PDF Universal Accessibility 41 | PNG Portable Network Graphics 42 | PQ Perceptual Quantizer 43 | SDR Standard Dynamic Range 44 | sRGB Standard Red Green Blue (small "s") 45 | SVG Scalable Vector Graphics 46 | W3C World Wide Web Consortium 47 | WCG Wide Color Gamut 48 | XYZ CIE XYZ colorspace 49 | -------------------------------------------------------------------------------- /announce.txt: -------------------------------------------------------------------------------- 1 | Dear Advisory Committee Representative, 2 | Chairs, 3 | 4 | W3C is pleased to call for participation in: 5 | 6 | W3C Workshop on Wide Color Gamut (WCG) 7 | and High Dynamic Range (HDR) for the Web 8 | April-May 2021, Virtual Event 9 | https://www.w3.org/Graphics/Color/Workshop/ 10 | 11 | The primary goal of the workshop is to bring together browser vendors, 12 | content creators, color scientists, and experts in other relevant areas 13 | (e.g. accessibility, scripting, security, web) to converge on technologies 14 | for enabling WCG and HDR on the Open Web Platform. 15 | 16 | The event will be organized as a combination of pre-recorded talks 17 | (expressions of interest are due 30 January, with recorded talks to 18 | be submitted by 15 March 2020) followed by online issue raising on GitHub, 19 | and culminating in a series of live sessions in 20 | April and May, organized around three main themes: 21 | * Wide Color Gamut on the Web 22 | * High Dynamic Range on the Web 23 | * WCG and HDR Standardization Landscape 24 | 25 | Attendance is free for all invited participants and is open to the 26 | public, whether or not W3C members. 27 | 28 | For more information on the workshop, please see the workshop details 29 | and submission instructions: 30 | https://www.w3.org/Graphics/Color/Workshop/ 31 | https://www.w3.org/Graphics/Color/Workshop/index.html 32 | https://www.w3.org/Graphics/Color/Workshop/speakers.html 33 | 34 | If you have any questions, please contact organizer 35 | Chris Lilley . 36 | -------------------------------------------------------------------------------- /cfp.html: -------------------------------------------------------------------------------- 1 | 2 | 3 | 4 | 5 | W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
19 | 35 | 49 |
50 | 59 | 82 | 90 | 100 | 106 |
107 |
108 |

109 | This is a call for participation to a W3C Workshop on Wide Color Gamut (WCG) and High Dynamic Range (HDR) for the Web. 110 |

111 |
112 |

113 | What is the purpose of this workshop? 114 |

115 |

The primary goal of the workshop is to bring together browser vendors, content creators, color scientists, and experts in other relevant areas (e.g. accessibility, scripting, security, web) to converge on technologies for enabling WCG and HDR on the Open Web Platform.

116 | 117 |

The secondary goals of the workshop are as follows:

118 |
    119 |
  • To share experiences and strategies for color-correct rendering of images, video, 3D content and Web (HTML/SVG/CSS) content, on the Open Web Platform.
    • 120 |
  • To identify roadblocks or built-in assumptions (such as 8 bits per component, RGB-only, SDR-only) which impede further progress.
    • 121 |
  • To examine which scripting interfaces and APIs are needed for WCG and HDR support
    • 122 |
  • To propose Web-compatible but future-proof extension mechanisms to enable WCG and HDR.
    • 123 |
  • To share priorities from content creators, as to what features they need to develop compelling content.
    • 124 |
  • To share strategies for adding HDR and mixed HDR/SDR content to a platform with emerging, inconsistently-deployed HDR support.
    • 125 |
  • To examine Accessibility impacts of highly saturated colors and very high contrast ranges, and the exacerbation of observer metamerism by near-spectral primaries.
    • 126 |
  • To plan a standardization roadmap (at W3C and at other SDOs) that maximizes the chance of sucessful, near to mid term deployment.
    • 127 |
128 | 129 |
130 |
131 |

132 | Which topics will be covered? 133 |

134 | 135 |

The following topics have been proposed, along with references to relevant specifications and documents. Please submit a pull request or raise an issue on GitHub to provide feedback and suggest further workshop topics. You may also email Chris Lilley <chris@w3.org>.

137 | 138 |
139 |

Wide Color Gamut on the Web

140 |
    141 |
  • WCG serialization and the CSS Object Model
    • 142 |
  • A WCG-capable Color object for the CSS Typed Object Model
    • 143 |
  • Canvas and WCG support
    • 144 |
  • WCG and WebGPU
    • 145 |
  • WCG authoring for progressive enhancement
    • 146 |
  • Accessibility impacts of WCG
    • 147 |
  • Potential and limitations of factory calibration of displays
    • 148 |
149 | 150 |
151 |

Some relevant documents

152 |
    153 |
  • CSS Color Module Level 4 adds color-managed WCG support, both RGB and CMYK, to CSS.
    • 154 |
  • CSS Color Module Level 5 adds color mixing and color modification functions to CSS, using CIE LCH as the primary model.
    • 155 |
  • Media Queries Level 5 enables conditional support based on color gamut and dynamic range capabilities
    • 156 |
  • Media Capabilities allows media to be selected based on decoding,encoding and display capabilities
    • 157 |
  • Canvas Color Space Proposal describes wide-color gamut and HDR support for canvas rendering contexts (2D, WebGL), WebGPU, and related APIs like ImageBitmap and ImageData. 158 |
159 |
160 |
161 | 162 |
163 |

High Dynamic Range on the Web

164 | 165 |
    166 |
  • Detecting and using HDR support for video and for other Web content
    • 167 |
  • HDR fallback and compatibility for SDR
    • 168 |
  • Consuming HDR content in non-standard viewing conditions
    • 169 |
  • Compositing HDR and SDR content
    • 170 |
  • ICC profiles and HDR content
    • 171 |
  • non-ICC color management approaches for HDR media
    • 172 |
  • AVIF, a static and animated image format for HDR content
    • 173 |
  • Accessibility impacts of HDR
    • 174 |
175 | 176 |
177 |

Some relevant documents

178 | 183 |
184 |
185 | 186 | 187 |
188 |

WCG and HDR Standardization Landscape

189 |

Building on the previous topics, goal is to hold a plenary discussion on color standards on the Web:

190 |
    191 |
  • Who is doing what: ongoing work across standardization organisations (SDO)
    • 192 |
  • Standardization priorities and roadmap
    • 193 |
194 | 195 |
196 |

Some relevant documents

197 | 200 |
201 |
202 |
203 | 204 |
205 |

206 | How can I attend? 207 |

208 |

Attendance is free for all invited participants and is open to the public, whether or not W3C members.

209 |

Regitration opened on 15 January 2021. 210 | Please register for the event before 24 March 2021 to be notified of the videos availability, of the forum set up to facilitate discussion among registered participants, and of the logistics for the interactive sessions. The Program Committee will only accept participants whose registration data shows relevance to the topic of the workshop.

211 | 212 |

Our aim is to get a diversity of attendees from a variety of industries and communities, including:

213 |
    214 |
  • Color Technology groups
    • 215 |
  • Experts in verticals and delivery
    • 216 |
  • Content owners and enabling technology providers (encoding and authoring tool makers)
    • 217 |
  • Distributors and distribution enablers (e.g. CDNs)
    • 218 |
  • Media devices manufacturers (monitors, TV sets, VR/AR headsets)
    • 219 |
  • Browser vendors
    • 220 |
  • Experts in relevant technologies (accessibility, color science, media, scripting, security, web)
    • 221 |
222 |

This workshop, as other W3C meetings, operates under its Code of Ethics and Professional Conduct.

223 |
224 |
225 |

226 | How can I suggest a presentation? 227 |

228 |

To submit a talk for the workshop, please refer to our information for speakers.

229 |
230 |
231 |

232 | What is W3C? 233 |

234 |

235 | W3C is a voluntary standards consortium that convenes companies and 236 | communities to help structure productive discussions around existing 237 | and emerging technologies, and offers a Royalty-Free patent framework 238 | for Web Recommendations. We focus primarily on client-side (browser) 239 | technologies, and also have a mature history of vocabulary (or 240 | “ontology”) development. W3C develops work based on the priorities of 241 | our members and our community. 242 |

243 |
244 |
245 |

246 | Program 247 |

248 |

249 | Program Committee 250 |

251 | 252 |

Chair

253 |
    254 |
  • Chris Lilley, W3C
    • 255 |
256 | 257 |

Committee

258 |
    259 |
  • Chris Bai, BenQ. Co-chair of ICC Displays WG.
    • 260 |
  • Dr. Phil Green, NTNU. ICC Technical Secretary.
    • 261 |
  • Richard M. Adams II, Ryerson University
    • 262 |
  • Mark Watson, Netflix
    • 263 |
  • Pierre-Anthony Lemieux, MovieLabs
    • 264 | 265 | 266 |
267 |
268 |
269 |

270 | Sponsors 271 |

272 |

TBD

273 |
274 |
275 | 291 | 292 | 293 | 294 | -------------------------------------------------------------------------------- /homepage.html: -------------------------------------------------------------------------------- 1 |
2 |

chromaticity diagram of wide color gamut 5 | W3C announced today the 6 | W3C Workshop 7 | on Wide Color Gamut (WCG) and High Dynamic Range (HDR) 8 | for the Web, which 9 | is being organized as a virtual event in May-June 2021. 10 |

11 |

The primary goal of the workshop is to bring together browser vendors, 12 | content creators, color scientists, and experts in other relevant areas 13 | (e.g. accessibility, scripting, security, web) to converge on technologies 14 | for enabling WCG and HDR on the Open Web Platform. 15 |

16 |

The event will be organized as a combination of pre-recorded talks 17 | (expressions of interest are due 30 January, with recorded talks to 18 | be submitted by 15 March 2020) followed by online issue raising on GitHub, 19 | and culminating in a series of live sessions in 20 | May and June, organized around three main themes: 21 |

22 | 27 |

The event is free and open to anyone with relevant perspectives on the topic to register for the event. For more information on the workshop, please see the workshop details and submission instructions. 28 |

29 |

Deadline to submit a proposal for a talk is 30 January 2021, and registration will 30 | be open from January until April.

31 |
32 | -------------------------------------------------------------------------------- /media/UCS-rec2020-ws.svg: -------------------------------------------------------------------------------- 1 | 2 | Show u*,v* UCS diagram 3 | with the gamuts of sRGB and ITU Rec BT.2020. 4 | To enable import into PhotoShop and assignment as P3, 5 | the values are actually BT.2020 colors but (ugh!) 6 | expressed as if they were sRGB. 7 | (holds nose). 8 | That does at least preserve the relative chroma difference from 9 | BT.2020 to sRGB 10 | 11 | 12 | 13 | 14 | 15 | 109 | 110 | 111 | 112 | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 131 | 132 | -------------------------------------------------------------------------------- /media/banner.png: -------------------------------------------------------------------------------- https://raw.githubusercontent.com/w3c/web-wcg-hdr-workshop/8e4499207bc57af7da152f19f7127df77d80c681/media/banner.png 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| 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | -------------------------------------------------------------------------------- /overview.html: -------------------------------------------------------------------------------- 1 | 2 | 3 | 4 | 5 | W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
19 | 35 | 49 |
50 | 58 | 68 |
69 |
70 |
71 |

Introduction

72 |

Since 1996, color on the Web has been locked into 73 | a narrow-gamut, low dynamic-range colorspace called 74 | sRGB. Originally derived from a standard for 75 | broadcast High Definition Television (HDTV) 76 | and intended to be a lowest common denominator for interoperability, 77 | it has since become an increasing burden to creative expression 78 | and a key differentiator between the web, on the one hand, 79 | and native applications and entertainment devices 80 | which have kept up with, indeed driven, advances in technology. 81 |

82 |

83 | Display technologies have vastly improved since the bulky, 84 | cathode-ray tube displays of the 1990s. 85 | The most obvious change is display resolution, 86 | but the range of displayable colors (the gamut), 87 | accompanied by a reduction in reflected glare 88 | and an increase in dynamic range, are also notable. 89 |

90 |
91 |
92 |

Wide Color Gamut

93 |

94 | Colors more vivid than a typical display are common in nature. 95 | The varied orange hues of a spectacular sunset, 96 | the irridescent blues and greens of a butterfly or a bird's wing, 97 | the colors in a firework display, 98 | even the colors seen in ordinary grass, lie outside the sRGB gamut. 99 |

100 |

101 | At first, displays that could show brigher, more saturated colors 102 | than typical displays were costly, high-end devices used by 103 | graphic designers and professional photographers. 104 | Over the last five years however the prices have come down 105 | and the quality has gone up. 106 | An emerging standard in consumer electronics devices 107 | such as tablets, TVs, phones, and laptops is 108 | display P3, derived from a standard for 109 | Digital Cinema projectors (DCI P3). 110 | It can display 50% more colors than sRGB. 111 |

112 |

113 | Meanwhile the movie and TV industries have moved 114 | beyond P3 to an even wider-gamut colorspace, 115 | ITU Rec BT.2020, which can display an astonishing 116 | 150% more colors than sRGB. 117 | Professional displays used in color grading movies 118 | can display 90% or more of the 2020 gamut; 119 | history shows that similar capabilities 120 | will become available in the consumer market soon. 121 |

122 |

123 | The Web needs to provide access to these colors - 124 | not just for video or images, but for everyday Web content. 125 |

126 |
127 |
128 |

High Dynamic Range

129 |

130 | The human eye can perceive a vast range of brightnesses, 131 | from dimly-seen shapes under moonlight 132 | to the glare of sunlight reflected from metallic surfaces. 133 | This is termed the dynamic range and is measured 134 | by the luminance of the brightest displayable white, 135 | divided by the luminance of the deepest black. 136 | sRGB, with a peak luminance of 80 cd/m², 137 | has a viewing flare of 5% (4 cd/m²) 138 | giving a total dynamic range of 20x. 139 |

140 |

141 | Display P3, which is often used with a peak white luminance 142 | of around 200 cd/m² and a black luminance of 0.80 cd/m², 143 | has a total dynamic range of 250. 144 | The luminance limits are set by power consumption and heating, 145 | if the entire display is set to the maximum brightness white; 146 | and also user comfort, as the white is a typical background for text 147 | and represents a "paper white" or "media white". 148 | In the broadcast industry, this is termed 149 | standard dynamic range (SDR). 150 | It falls far short of what the human eye can perceive. 151 |

152 |

153 | In nature, very bright objects occupy a very small fraction 154 | of the visual field. 155 | Also, we can see detail in an almost dark room. 156 | By taking advantage of these two aspects - scene by scene lightness changes and localized highlights, 157 | a display can produce a wider dynamic range by 158 | turning down the backlight in dark scenes 159 | and turning it up in bright ones; 160 | in addition, if each small portion of the screen has its own backlight, 161 | small highlights much brighter than a paper white can be produced, 162 | for a small area and for a small time. 163 | This is called High Dynamic Range (HDR). 164 |

165 |

166 | As an example, the broadcast standard ITU BT.2100, 167 | with the PQ electro-optical transfer function, 168 | will display a paper white at around 200 cd/m². 169 | But the deepest black is 0.001 cd/m²; 170 | and the peak, short-term, small-area white 171 | is 10,000 cd/m² giving a total dynamic range of 172 | ten million. 173 | While this is a theoretical peak, 174 | reference monitors with peak luminance of 1,000 cd/m² 175 | to 4,000 cd/m² are in widespread use for movie and TV production. 176 | Consumer devices with peak luminances of 500 to 1200 cd/m² 177 | are becoming common. 178 |

179 |

180 | HDR is in widespread daily use for the delivery of streaming movies, 181 | broadcast television, on gaming consoles, 182 | and even for the recording and playback of HDR movies on high-end modile phones. It is also starting to be used for still images. 183 | The Web, meanwhile, is currently stuck with Standard Dynamic Range. 184 |

185 |
186 |
187 |

Standardization

188 |

189 | It is all very well to complain that consumer entertainment 190 | technology is far in advance of the Web, but what can be done about it? 191 | Are entirely new standards needed, 192 | or can existing ones be smoothly extended, 193 | adding capabilities already common in the broadcast industry? 194 |

195 |

196 | In addition, we need to compare like with like. 197 | The experience of watching a blockbuster movie 198 | in a darkened room with a home theatre setup, 199 | or watching a live sports broadcast inside under afternoon daylight, 200 | or catching news items on a phone while commuting in broad daylight, 201 | are necessarily different. 202 | Just as we are used to reponsive Web designs 203 | that adjust to different display reolutions, 204 | content for the Web needs to adaptable for different gamuts, 205 | different peak luminances, 206 | and a very wide range of viewing conditions. 207 |

208 |
209 |
210 |
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16 | 32 | 46 |
47 | 55 | 64 |
65 |
66 |
67 |

Who should apply to speak at the workshop?

68 |

W3C is convening this virtual workshop to and help chart its standardization roadmap.

69 |
70 |
71 |

How to apply to speak?

72 |

If your experience or expertise in the field has provided you with insights (questions or answers) about WCG and/or HDR on the Web, in particular about the topics in scope of the workshop, please contact the Program Committee before 30 Jan 2021 and we will work with you in confirming and defining your proposed contribution.

73 |
74 |
75 |

Why should I apply to speak?

76 |

Your audience, the workshop participants, will include representatives from a variety of industries and communities, including .

77 |

Browsers are the most widely deployed platform, reaching 4B+ users, with the larger developers community - they provide a key stepping stone to deploy technology at scale.

78 |

Bringing your perspective to this workshop provides a unique opportunity to have a wide-scale and lasting impact on the future usage of .

79 |

This will also help you establish contacts with new communities and new experts, expanding your network of experts and business relations.

80 |

Beyond the workshop itself, the record of the presentation will be available on the W3C site as part of the event record, and will serve as a point of reference and discussion for the years to come.

81 |
82 |
83 |

What should my talk cover?

84 |

The Program Committee will review proposed talks to assess they fit well with the call for participation, in particular the list of identified topics.

85 |

Once selected, speakers should aim to provide a talk that:

86 |
    87 |
  • brings their specific perspective on the topic,
    • 88 |
  • identifies what barriers may need to be lifted to make browsers a great platform for WCG & HDR, in particular those where interoperability and standardization are likely to play a role,
    • 89 |
  • shed light on specific aspects or questions the Program Committee will have raised in their review process,
    • 90 |
  • raise questions of their own that other Workshop participants may usefully provide input on.
    • 91 |
92 |

Talks are expected to be in the 5 to 10 minutes time range, to ensure as many workshop participants as possible can watch all the submitted talks prior to the live discussions.

93 |
94 |
95 |

How will talks be recorded and presented?

96 |

Once approved by the Program Committee, talks are expected to be delivered as a combination of a slideset (in HTML or PDF) and a recorded audio or video of the speaker (without screen recording of the slides) before 15 March 2021.

97 | 98 |

These two elements will then be synchronized and combined to allow Workshop participants to watch presentations at their own pace - see an example of this synchronized presentation viewer for a previous W3C event.

99 |

You can find W3C guidance on tools and tips to record yourself. As an alternative, the Program Committee will offer to record speakers over a teleconferencing system (e.g. Zoom) both to help with technical matters and to provide an audience to the speaker, since we recognize that speaking alone in front of a camera is not necessarily an easy exercise.

100 | 101 |

W3C provides also more general guidance on how to present effectively, 102 | and in a way accessible to people with disabilities. 103 | See also How to Make Your Presentations Accessible to All. 104 |

105 |

Talks are expected to be delivered in English

106 | 107 | 108 |

W3C will provide transcripts and captions for all the selected presentations and will ask speakers' help in reviewing these for accuracy. A list of technica terms used inthe presentation will greatly aid accurate captioning.

109 |
110 |
111 |

What other commitments are expected from me if I give a talk?

112 |

A few weeks after all the pre-recorded talks have been published on the W3C site, the Program Committee will set up a series of teleconferences in mid-April to mid-May 2021 where each of the workshop topics will get discussed, as informed by the submitted presentations.

113 |

Speakers are expected to the best of their availability to be on the call(s) where the topic of their presentation is being discussed, to answer and raise questions with other workshop participants.

114 |

The Program Committee will also set up an asynchronous communication mechanism (GitHub) where speakers are cordially invited to participate to exchange with other speakers and workshop participants.

115 |
116 |
117 |
118 | 135 | 136 | 137 | 138 | -------------------------------------------------------------------------------- /sponsor.html: -------------------------------------------------------------------------------- 1 | 2 | 3 | 4 | 5 | Sponsoring the W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web 6 | 7 | 8 | 9 | 10 |
11 |

W3C

13 |

Sponsoring the W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web

14 |
15 | 16 |
17 |

W3C is organizing a virtual workshop to bring together browser vendors, content creators, color scientists, and experts in other relevant areas (e.g. accessibility, scripting, security, web) to converge on technologies for enabling WCG and HDR on the Open Web Platform.

18 | 19 |

For more details on the conference, see W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web.

20 | 21 |

Sponsoring W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web shows leadership and helps move the dialog forward.

22 | 23 | 24 |
25 |

Why Sponsor This Workshop?

26 |

The cost to hold this virtual workshop includes costs for post-processing the pre-recorded talks (captioning, video/slides synchronization, packaging) and other considerations.

27 | 28 |

Most of the planning, coordination, agenda building, and writing outcome reports are done for no cost by W3C staff or volunteers. But without sponsorships, W3C cannot hold workshops.

29 | 30 |

If you see value in discussing possible standardization of WCG & HDR 31 | for the Web, and believe it will help your business, sponsoring is the best way to ensure that this conversation happens, and that you are seen as a leader and a forward-looking enabler of the technical evolution of the Web.

32 | 33 |
34 | 35 |
36 | 37 |
38 |

Sponsorship Packages

39 |

40 | 41 | For this virtual workshop, 42 | W3C have one level of sponsorship.

43 | 44 |

W3C Members get a 25% discount on all sponsorship packages; costs listed reflect the W3C Member discount.

45 | 46 |

The sponsorship package offers the following considerations:

47 | 57 | 58 |

The deadline for becoming a sponsor is 15 March 2021. 59 | Speaker videos, including sponsor logos, will be released on 30 March 2021.

60 | 61 |

Workshop Sponsorship: 4,000 USD (5,000 USD for non-Members)

62 |
63 | 64 |
65 |
66 |

Sponsors

67 |
68 |

Becoming a Sponsor

69 |

W3C Workshops, meetups, and other events bring you into direct contact with leading Web technology experts: representatives from industry, research, government, and the developer community.

70 |

Whether your interests are focused on a particular topic being discussed by a Working Group, or you wish to reach a diverse international audience setting W3C's strategic direction, sponsorship helps your organization reach W3C's engaged participants.

71 |

Sponsorships offset a portion of our meeting costs, so W3C welcomes multiple sponsors for each event. All proposals for sponsorship are subject to W3C approval.

72 |

If you're interested in being a sponsor of the 73 | W3C Workshop on Wide Color Gamut and High Dynamic Range for the Web, 74 | please contact Karen Myers, Business Development Lead, at <karen@w3.org>.

75 | 76 |
77 |
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42 | 58 | 72 |
73 | 82 | 83 |
84 |
85 |

86 | The talks at the W3C Workshop on Wide Color Gamut (WCG) and High Dynamic Range (HDR) for the Web are grouped into five thematic sections: 87 |

88 |
89 | 90 |
91 |

HDR Introduction

92 |
93 |
Zachary Cava (Disney
94 |
Keeping W3C Relevant in an HDR / WCG Living Room Environment 95 |

Next generation multimedia formats such as HDR are being rapidly adopted in the Living Room Environment as consumers continue to upgrade their devices. This pace of adoption has outpaced our ability as an industry to define standardized and interoperable methods of handling these new formats leading to custom solutions and the fragmentation of the HTML ecosystem in this environment. In this talk we discuss the uniqueness of the Living Room Environment and aim to prompt a discussion on the best way for the W3C to re-engage and once again lead innovation in this environment.

96 |
97 |
Andrew Cotton (BBC)
98 |
An Introduction to Hybrid Log-Gamma HDR Part 1: Mixed Display and Viewing Environments 99 |

The presentation will provide an overview of the HLG HDR system. It will show how HLG, as it is based on relative "scene-light", is well matched to the human visual system. The presentation will go on to explain how the HLG signal can be shown on a wide range of different brightness displays in different viewing environments, whilst preserving its appearance - particularly important for laptops, PCs and mobile phones.

100 |
101 |
Chris Bai (BenQ)
102 |
How to Enable HDR Mode on Your HDR Compatible Monitor under Windows OS? 103 |

Nowadays HDR compatible monitor is commonly available in the market, but very often, it is not possible to enable the HDR mode on the monitor in a desktop environment. In the talk, we will show you how to enable the HDR mode under Windows 10, so you could truly experience the benefit of HDR monitor without using a Blu-ray player. A true 10-bit display workflow versus 8-bit workflow will be compared under HDR curve to see the advantage of utilizing the 10-bit workflow. Although this is not as technical as the workshop proposed topics, I do believe this is an important topic to be discussed. There is no comprehensive source of information which delivers this kind of hands-on knowledge.

104 |
105 |
106 |
107 | 108 |
109 |

WCG: CSS Color 4

110 |
111 |
Mike Bremford (BFO)
112 |
CSS-Color-4 for Print 113 |

A comparison of the CSS and PDF color spaces, and details of how CSS Color 4 was implemented for PDF output.

114 |
115 |
Felipe Eria (Igalia)
116 |
The path towards richer colors in Chromium 117 |

This talk will provide an overview of how color is handled and manipulated by the Chromium browser to paint different kinds of Web components, followed by a discussion of the changes that would be necessary in order to implement support for richer, higher-precision colors.

118 |
119 |
Sam Weining (Apple)
120 |
How someone who knew nothing about color decided to reimplement all the color code in WebKit 121 |

Discusses the implementation experience of expanding color space support in WebKit culminating in CSS Color 4 support for non-sRGB colors, and how that experience shaped my opinions on what needs to evolve in the web standards around color.

122 |
123 |
Chris Lilley (W3C)
124 |
125 | Better than Lab? Gamut reduction CIE Lab & OKLab 126 |

Colors which are outside the gamut of the display device need to be mapped so that they are within the gamut. Although an industry standard for decades, CIE Lab is known to exhibit limitations such as over-estimating color difference with high-chroma colors (even with deltaE 2000), and a hue non-linearity in the blue-purple region. This talk reports on investigation of a newer opponent color space for gamut reduction of individual colors. This will inform browser implementations of gamut reduction, particularly if ICC profiles are not being used.

127 |
128 |
129 |
130 | 131 |
132 |

WCG & HDR: Canvas, WebGL, WebGPU

133 |
134 |
Christopher Cameron (Google)
135 |
Canvas, WebGL, and WebGPU 136 |

This talk will cover the proposed APIs for adding WCG and HDR support to Canvas, WebGL, and WebGPU

137 |
138 |
Kenneth RussellJeff Gilbert (Mozilla)
139 |
Deep Dive on HDR, WCG and Linear Rendering in WebGL and WebGPU 140 |

This presentation will dive more deeply into the interactions between the lower-level WebGL and WebGPU rendering APIs, and the proposed additions of HDR, wide color gamut support, and linear rendering support to the web platform. The focus will be on the primitives that are exposed by graphics hardware, and ensuring that those are exposed to the web platform efficiently.

141 |
142 |
143 |
144 | 145 |
146 |

WCG & HDR: Color manipulation

147 |
148 |
Lea Verou (MIT)
149 |
API Design for a colorspace-neutral Color object 150 |

The Web platform is in dire need of a Color object, and it needs to be well designed and intuitive to use. It needs to support all the color formats and color spaces of CSS Color, HDR, conversion between color spaces, color adjustment in any color space, interpolation, gamut mapping, contrast calculation, among other things.

151 |

The sheer breadth of use cases means that this poses unique API design challenges. I took a stab at these challenges while co-developing a color library with Chris Lilley, Color.js. This presentation will describe some of the API design dilemmas that we faced while developing this library and the design decisions we made.

152 |
153 |
Mekides Assefa Abebe (NTNU)
154 |
Investigation of current color spaces for HDR content reproduction over the web 155 |

Evaluation of PQ, HLG, Jzazbz, JzCzHz, and ICtCp color spaces in the context of rendering HDR content to SDR display and SDR content to HDR display with forward and reverse tone mapping.

156 |
157 |
Max Derhak (Onyx Graphics)
158 |
Using iccMAX for HDR color management 159 |

The ICC is working on Interoperability Conformance Specifications (ICSs) for HDR color management using iccMAX. I propose reviewing the ICS workflows with possible extensions to provide performance, accuracy and desirable dynamic behavior.

160 |
161 |
162 |
163 | 164 |
165 |

HDR: Compositing and creation

166 |
167 |
Andrew Cotton (BBC)
168 |
An Introduction to Hybrid Log-Gamma HDR Part 2: Format conversion and compositing 169 |

The presentation will provide an overview of the HLG HDR system. It will illustrate how to composite SDR (sRGB) and HLG HDR content side-by-side, and show how the backwards compatible nature of the HLG signal allows it to be shown on SDR screens of different colour gamuts.

170 |
171 |
Timo Kunkel (Dolby)
172 |
Comparison of linear vs composited HDR pipelines 173 |

174 | HDR pipelines for full-screen content such as movies and video are well established covering all parts of the pipeline such as content production, delivery and display. However, the pipeline elements required to successfully facilitate content that is composited in real-time is still in its infancy. Examples for such composited content are websites or graphical user interfaces that use markup language ‘recipes’ to assemble a set of independent content elements that might be encoded in different HDR and SDR formats into a cohesive presentation, both in SDR and HDR. This talk compares the different requirements and approaches and discusses the aspects that need to be considered to achieve a successful rendering pipeline. 175 |

176 |
177 |
Dmitry Kazakov (Krita)
178 |
HDR for 2D content creators: HDR support in Krita painting application 179 |

Preparing HDR content from the user perspective:

180 |
    181 |
  1. How users are expected to prepare HDR content for web.
    2. 182 |
  2. What file formats are supported (in Krita) and what are their limitations.
    3. 183 |
  3. ITU BT.2100 PQ EOTF extension for the PNG format. Fallback ICC profile.
    4. 184 |
  4. Preparing HDR content while working on SDR hardware
    5. 185 |
186 |

Technical topics:

187 |
    188 |
  1. What HDR APIs are available for developers: DirectX supports that. OpenGL-based applications can use it through Google's Angle library.
    2. 189 |
  2. Supported surface types.
    3. 190 |
191 |

Technical problems for creator's applications development:

192 |

The standard for displays expects that the display accepts "absolute" bt2020pq colors and shows them on screen using vendor-specific conversions algorithm. It meant that the content creator has no way to color-proof the result. They need to own multiple displays to check that their content "looks good everywhere". That is exactly what ICC technology used to solve, which does not exist in HDR world yet. 193 |

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195 |
196 |
197 | 198 |
199 | 200 |
201 |

Speakers

202 | 203 |

In alphabetical order, we are pleased to have talks by:

204 | 205 |
206 |

Mekides Assefa Abebe (NTNU)

207 |

I am a permanent researcher at the color and visual computing laboratory, NTNU. I have pursued my PhD in signal and image processing, at Technicolor and University of Poitiers, in 2016. My thesis was mainly focused on adaptation of SDR contents for new HDR displays. My master's study was also in color in informatics and media technology. After the completion of my PhD, I have been working on several research projects such as enhancement of video conferencing quality, image retargeting, image quality enhancement with deep learning, mobile phone camera characterization for accurate skin color correction, and related others. Generally, my area of expertise include HDR imaging, color imaging and perceptual modeling, as well as computer vision.

208 |
209 | 210 |
211 |

Chris Bai (BenQ)

212 |

Vice Chair of ICC Display Working Group
213 | Senior Color Expert of BenQ Corporation
214 | Founder of BenQ Color Technology Lab 215 |

216 |
217 | 218 |
219 |

Mike Bremford (BFO)

220 |

Mike Bremford is technical director at bfo.com. He has been working with PDF and CSS for 20 years.

221 |
222 | 223 |
224 |

Christopher Cameron (Google)

225 |

Christopher Cameron works for Google on the Chrome Browser, with an emphasis on computer graphics.

226 |
227 | 228 |
229 |

Zachary Cava (Disney)

230 |

Zachary Cava is a Media Platform Architect for the Media Engineering team that powers the streaming experiences of Disney+, Hulu, and many other Disney services. He focuses on optimizing current generation streaming solutions to achieve new levels of scale and next generation streaming solutions to enable new experiences that excite and delight users across the full spectrum of devices that these services are available on. He is also an active member of numerous standards bodies working to advance the interoperability of solutions across the streaming industry and bring attention to areas of streaming that have traditionally been a secondary focus of standardization

231 |
232 | 233 |
234 |

Andrew Cotton (BBC)

235 |

Andrew is a Principal Technologist within BBC R&D’s Broadcast & Connected Systems Section. He has a background in video compression and image processing. Andrew and his team work across the entire television acquisition, production, delivery and distribution chains, ensuring the technical integrity of BBC systems. Most recently their work has focused on high dynamic range TV, as Andrew is one of the developers of the Hybrid Log-Gamma HDR system.

236 |
237 | 238 |
239 |

Max Derhak (Onyx Graphics)

240 |

Co-Chair of ICC. Chair of ICC Architecture Working Group. Lead developer of RefIccMAX project.

241 |
242 | 243 |
244 |

Felipe Erias (Igalia)

245 |

I am a software engineer and interaction designer, part of the Web Platform team at Igalia. Previously, I worked on the development of different Free SW platforms for mobile and desktop from 2007 to 2014, and then for several years as a R&D designer/engineer.

246 | 247 |

For over a year now, I have been implementing new CSS features in Chromium. This included an initial attempt at implementing the lab() and lch() CSS functions to describe colors in the CIE l*a*b color space. Even though this project proved too broad for a single contributor, it gave me the opportunity to research the Chromium platform as well as the relevant literature, current state of the art, and related standards.

248 |
249 | 250 |
251 |

Jeff Gilbert (Mozilla)

252 |

253 |
254 | 255 |
256 |

Dmitry Kazakov (Krita)

257 |

My name is Dmitry Kazakov. I am a developer of Krita painting application (https://krita.org). In 2019 I implemented HDR hardware support in Krita, so I have a bit of experience from the technical side.

258 |
259 | 260 |
261 |

Timo Kunkel (Dolby)

262 |

I've been working with HDR imaging concepts and technologies over the past 15 years. My background is in color science and imaging in general. I've been with Dolby since 2007 and have been involved since then in researching and developing the core concepts of what is now Dolby Vision. Over the last year, I have been looking into how HDR can be facilitated with canvas based rendering pipelines such as the ones facilitated by the w3c, and how we can use the learnings from linear HDR approaches with web and GUI rendering.

263 | 264 |

I hold a PhD in Computer Science from the University of Bristol, UK and a MSc from the University of Freiburg, Germany. 265 | 266 | LinkedIn Profile: www.linkedin.com/in/timo-kunkel

267 |
268 | 269 |
270 |

Chris Lilley (W3C)

271 |

Chris Lilley is a Technical Director at the World Wide Web Consortium (W3C) 272 | and is the W3C representative to the International Color Consortium (ICC). Considered “the father of SVG”, he also co-authored PNG, was co-editor of CSS2, chaired the group that developed @font-face, and co-developed WOFF. He is co-editor of CSS Color levels 3, 4 and 5.Ex Technical Architecture Group. Chris is still trying to get Color Management on the Web, sigh. Currently working on Color, CSS, Web Audio, and Web Fonts.

273 |
274 | 275 |
276 |

Kenneth Russell (Google)

277 |

Ken Russell works as a software engineer on the Chrome team at Google and is the chair of Khronos' WebGL working group. His work on 3D graphics and the web ecosystem has involved WebGL, Java applets using OpenGL, and SGI's Cosmo Player web plugin for VRML scenes.

278 |
279 | 280 |
281 |

Lea Verou (MIT)

282 |

Lea is passionate about improving the Web, a goal that she has been working towards for over a decade, from many different angles. She is heavily involved in web standards, as an elected W3C Technical Architecture Group (TAG) member, as a longtime CSS Working Group Invited Expert, and in the past as W3C staff. She currently works at MIT, doing research at the intersection of HCI and programming languages. She is a well known speaker and author, having written several articles, book chapters, and the bestselling advanced CSS book CSS Secrets. Lea has also started several open source projects and web applications, such as Prism, Mavo, and Awesomplete. Some of her open source work is used on millions of websites. She tweets @leaverou and blogs at lea.verou.me. She holds a MSc in Computer Science from MIT. Despite her technical pursuits, Lea is one of the few misfits who love code and design equally.

283 |
284 | 285 |
286 |

Sam Weining (Apple)

287 |

Long time WebKit contributor and W3C member.

288 |
289 | 290 |
291 |

292 |

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294 | 295 |
296 | 297 |
298 | 314 | 315 | 316 | 317 | -------------------------------------------------------------------------------- /terms.txt: -------------------------------------------------------------------------------- 1 | absolute colorimetry 2 | absolute luminance 3 | abstract profile 4 | adaptation 5 | adaptive 6 | ambient illuminance 7 | appearance 8 | arbitrary illuminant 9 | back-buffer 10 | bit depth 11 | black level 12 | calculator element 13 | CalGray 14 | CalRGB 15 | canvas 16 | chromatic adaptation 17 | chrominance 18 | Chromium 19 | codec 20 | color appearance model 21 | color clipping 22 | color fidelity 23 | color grade 24 | color management 25 | color matching 26 | color matching function 27 | color proofing 28 | color temperature 29 | color volume 30 | colorimetric 31 | colorimetry 32 | colorspace 33 | colorspace tagging 34 | composited 35 | compositing 36 | computational complexity 37 | concept art 38 | context 39 | conversion 40 | Coons Patch 41 | CTA 861 42 | curves 43 | custom observer 44 | De Casteljau's algorithm 45 | DeviceN 46 | DirectX 47 | display EDID 48 | display-referred 49 | DisplayPort 50 | Dolby Vision 51 | drawing buffer (or draw buffer, both terms used) 52 | embedded color profile 53 | encoding 54 | environment variables 55 | extended range, colorspace and display ICS 56 | fixed point 57 | floating point 58 | full-canvas blit 59 | full-screen content 60 | game engine 61 | gamma (exponent in a power law. do not confuse with gamut) 62 | gamut (range of colors a device can render. do not confuse with gamma) 63 | gamut mapping 64 | gamut volumes 65 | gradient 66 | graphics white 67 | HDR 10 68 | HDR 10+ 69 | HDR Capable display 70 | HDR Mastering monitor 71 | HDR Reference monitor 72 | HDR-friendly 73 | highlights 74 | illuminant 75 | immediate-mode 76 | interoperable 77 | interpolation 78 | ITU-T Recommendation H.273 79 | JavaScript 80 | Lab (capital L, short for CIE L*a*b*) 81 | lean back environment 82 | legacy 83 | linear-gamma space 84 | look-up table 85 | luminance 86 | luminance brackets 87 | mastering conditions 88 | matrices 89 | matte painting 90 | media queries 91 | media whitepoint 92 | Mesh gradient 93 | mid-tones 94 | multi-processing element 95 | multi-sample frame buffer 96 | n-D look-up processing element 97 | near-spectral 98 | nits 99 | observer 100 | observer metamerism 101 | PANTONE (commercial color system, all caps) 102 | perceptual 103 | perceptual intent 104 | physically-based rendering 105 | pixel 106 | PlayReady digital rights management (capital P and R) 107 | point cloud 108 | PostScript (a graphics description language. Capital P and S) 109 | primaries 110 | profile 111 | profile connection space 112 | real-time compositing 113 | Rec 2020 (also BT.2020, same thing) 114 | Rec 2100 (also BT.2100, same thing) 115 | Rec 2390 (also BT.2390, same thing) 116 | Rec 709 (also BT.709, same thing) 117 | relative colorimetry 118 | relative intent 119 | rendering pipeline 120 | resolve frame buffer 121 | reverse tone-mapping 122 | samples 123 | sampling order 124 | saturation 125 | saturation intent 126 | scene-referred 127 | sigmoid 128 | SMPTE Standard 2086 129 | spatially and temporally mixed media 130 | spectral re-modelling 131 | spectral reflectance 132 | speculars 133 | spot color 134 | stack-based 135 | stack-overflow 136 | standard 2-degree observer 137 | standard observer 138 | swap chain 139 | temporally mixed media 140 | texture 141 | tone mapping 142 | tone-mapping engine 143 | transfer function 144 | transform 145 | Unity engine 146 | Web Assembly 147 | WebGL 148 | WebGPU 149 | white point 150 | white proofing 151 | widescreen 152 | -------------------------------------------------------------------------------- /w3c.json: -------------------------------------------------------------------------------- 1 | { 2 | "contacts": ["svgeesus"], 3 | "repo-type": "workshop" 4 | } --------------------------------------------------------------------------------