2020 for HDR using the same process.Īs a proof of concept, we exported our most recent Disney commercial to Final Cut Pro to adjust the grade to suit HDR. We have created a video above that shows how easy it is when working with ACES to export our renders to any requested color space with confidence that is will look correct on the target display, for this project it was a broadcast deliverable so we exported it as Rec. With Aces already being higher than a 10-bit workflow, we can take this straight over to Davinci Resolve or Final Cut Pro and use it to create a HDR export. 709 for TV broadcast, sRGB for Internet or P3-DCI for Cinema. The advantage of this is that we can easily export any colour space that we need to target whether that’s Rec. That means “future proof” formats for client handoffs and archival processes, since the ACES color space is so large.’ ‘ACES is broad enough to encompass almost every color space, without the limitations of smaller gamuts. This is the Academy Color Encoding System, created by the Academy of Motion Picture Arts and Sciences and developed by hundreds of industry professionals. Within computer animation we are already creating renders that have pixels with brightness values above the standard dynamic range (SDR) maximum of 1.0, which should mean that creating HDR deliverables for past and future projects is fairly straightforward.įortunately our studio has adopted the ACES colour space into our pipeline. Being able to fit all of this on a single display is amazing for animating with and this kind of benefit is the same with other workflows like effects and simulation, lighting and rendering. You can click each image to see it in its full resolution. The additional screen real estate is immediately giving the animator an entire character picker without losing any or the perspective or camera views in the scene. So we have laid out the typical character animation setup in Maya on both a 27” 5K iMac Pro and 32inch Pro Display XDR and how this looks from an operational point of view. Now with a 6K 32” display we might have the perfect balance. The only challenge if working on a single screen is being able to fit all of the animation controls into that single display comfortably.
The reality when using larger displays from a 27” and upwards is that you really have to turn your head to look from one monitor to the other while working and with the ability in macOS to easily switch between screens (or another space), that need for a second display starts to disappear. However at our studio most of our artists use a single 27inch 5K iMac Pros. It’s relatively common for animators to use a second display when working. Typically with 3D animation software, they always seem to have multiple windows, graphs, node editors and viewports, due to their complexity and managing all of these windows can be tricky. One of the really nice things about the Pro Display XDR is the size and resolution.
0 kommentar(er)
