chrisbrejon.com/cg-cinematography/

www.palagems.com/gem-lighting2

Artificial light sources, not unlike the diverse phases of natural light, vary considerably in their properties. As a result, some lamps render an object’s color better than others do.

The most important criterion for assessing the color-rendering ability of any lamp is its spectral power distribution curve.

Natural daylight varies too much in strength and spectral composition to be taken seriously as a lighting standard for grading and dealing colored stones. For anything to be a standard, it must be constant in its properties, which natural light is not.

For dealers in particular to make the transition from natural light to an artificial light source, that source must offer:
1- A degree of illuminance at least as strong as the common phases of natural daylight.
2- Spectral properties identical or comparable to a phase of natural daylight.

A source combining these two things makes gems appear much the same as when viewed under a given phase of natural light. From the viewpoint of many dealers, this corresponds to a naturalappearance.

The 6000° Kelvin xenon short-arc lamp appears closest to meeting the criteria for a standard light source. Besides the strong illuminance this lamp affords, its spectrum is very similar to CIE standard illuminants of similar color temperature.

www.colour-science.org/posts/the-colorchecker-considered-mostly-harmless/

“Unless you have all the relevant spectral measurements, a colour rendition chart should not be used to perform colour-correction of camera imagery but only for white balancing and relative exposure adjustments.”

“Using a colour rendition chart for colour-correction might dramatically increase error if the scene light source spectrum is different from the illuminant used to compute the colour rendition chart’s reference values.”

“other factors make using a colour rendition chart unsuitable for camera calibration:

– Uncontrolled geometry of the colour rendition chart with the incident illumination and the camera.
– Unknown sample reflectances and ageing as the colour of the samples vary with time.
– Low samples count.
– Camera noise and flare.
– Etc…

“Those issues are well understood in the VFX industry, and when receiving plates, we almost exclusively use colour rendition charts to white balance and perform relative exposure adjustments, i.e. plate neutralisation.”