Autor: daniel@toodee.de

with Affinity Photo, Nuke and Blender.

A look at what happens when you linearize a texture, render it in a scene and use a different view transform than the initial image/texture had.

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This a a new entry in the menu Learning ACES: “1.7. From images to textures“

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and what it means to work under or on top of them.

In the process of writing a new article for the website about textures I digged up some older notes and finally added them here.

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Find it in the menu Learning ACES or here: 1.6. Adding “colors” before/after a view transform

Limitations with version 2.82a and up to 2.90 alpha

Today (12th of May 2020) I filed a bug or limitation when working with 8-Bit textures in Blender that need a colorspace transform. So I added some notes of other limitations I ran into in the last weeks and months while exploring Blender & ACES:

• All color images should be EXR files in the colorspace ACEScg – in this way they don’t need any colorspace transform inside Blender.
• Colorspace transforms in Textures (Input – Generic – sRGB Texture) will result in imprecise or sometimes wrong results when the image texture is a 8-Bit file! (the transforms should happen in floating point precision)
• Non-Color image texture files e.g. bump or normal maps need to have the color space set to “raw” (no gamut or gamma mapping) – then there is not problem when using JPG/PNG files
• Blender misses an option to select the OCIO file in the preferences – at the moment you must set the OCIO environment variable before starting Blender.
• The list of colorspaces are not sorted in categories like it is in Nuke for example. The list is so large and long you need a giant screen to see them all and be able to select one with is at the end of the list – as a workaround you can temporally scale down the Resolution Scale smaller than 1.0 in the Interface/Display Preferences.
• Be aware that you are working in a far bigger gamut of ACEScg – I wrote an article called Understanding Gamut with ACES and Blender about this topic.
• The Blackbody shader which doesn’t really works in ACEScg.

Go to the page for some more detailed information.

TAG ONLY – AUTO CONVERT – VIEW TRANSFORM

It’s time to note down some flame related ACES stuff. Here is the first article.

How to work with ACES material and do some basic online work before exporting a ProRes Master for a client.

Click here to read it or find it in the menu “Panicpost – Understanding ACES”.

Deliver ProRes4444 with different ODTs

Resolve writes different color space related metadata when working in ACES into a ProRes file depending on the ODT you have selected.

I wanted to know how this metadata is used when reviewing the ProRes files on a Mac with the Quicktime Player and VLC or when using the Apple Compressor to generate smaller files for client send-outs.

This is another article in the “Learning ACES” menu.

2.5.2. TD_ColorBars ACES Export from Resolve

First test of the “TooDee ColorBars” for ACES with FCPX

After a long time I added a new entry about FCPX.
Before I reached here I was checking out first the color processing pipeline of FCPX in the default “Standard Rec.709” library and also the Rec.709 output in a Wide Gamut HDR library.

1.1. FCPX from SDR to HDR

1.2. FCPX HDR Dolby PQ

ACEScg/Rec.709

VS.

Linear sRGB

I finally got the time to finish up some more stuff. I created new ColorBars in ACES to be used for future tests. I was using them already testing out HDR in Final Cut Pro X (10.4.8).

2.5.1. TD_ColorBars_ACES

The next article is finished. It belongs to “Part 2” of the ColorChecker series. This is a deeper comparison of five different ways I tried to get the “best” HDRI result using different tools to process the RAW images.

I am “afraid” I have to continue doing more tests. Read it here and find out why.

I am very happy with the new WordPress Theme and the reorganization of the menu structure. It is fun to write new content for the site.

But first I added some feedback from ACESCentral where I also post my articles. A little summary can be found now at the end of the first ColorChecker article.

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Here is the second part of the ColorChecker series.

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On my ongoing project at the moment (after the holidays) I have to deal with camera footage from RED RAW, Sony Venice MXF, DJI-DNG and more H.265 drone footage.

So I wanted to know how much specular highlight data supports each camera log format. Please continue here.