![]() Whatever your images are coming from, you smoosh them into the ACES color standard, and now your whole team is on the same page.įor CG artists, a big benefit is the ACEScg color gamut, which is a nice big gamut that allows for a lot more colors than ye olde sRGB. WTF is ACES?ĪCES is a color system that’s meant to standardize how color is managed from all kinds of input sources (film, CG, etc), and provide a future-proof working space for artists to work in at every stage of the production pipeline. I’m likely taking shortcuts and making compromises in certain places that would make a Real Color Scientist’s eyes bleed, but that’s the nature of production… sometimes you have to break the rules to get the image the client wants. I’m just trying to translate a lot of difficult jargon and theory into something that’s practical for use by normal humans, because I could barely make any sense out of it myself. ![]() Feel free to yell at me in the comments if you like.Īn important note: I’m a (technical) 3D production artist, not a color scientist. ![]() I’m probably (definitely) over-simplifying plenty of details, but that’s what all the long and boring technical guides that smarter people have written are for. Now that I’m running a much smaller team at my current job, I decided it was time to actually try to implement ACES for real, and this is my attempt at writing down what I’ve learned into a practical guide for why and how you should implement ACES in your own work. ![]() It takes a certain amount of training and understanding to get a team of artists to work with ACES reliably, and so to save my own sanity I just stuck with the usual “linear workflow” and tried not to worry about it. I’ve been putting off working in ACES for years now, because almost every explanation of the system I’ve tried to read online has been either extraordinarily technical and long-winded, or read like a sales pitch with no useful information about implementation. ![]()
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