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Defining After Effects color settings

From: Creating Product Shots in 3ds Max

Video: Defining After Effects color settings

For compositing and image manipulation in this In order to use these EXR files, we'll have And in this dialog, we can adjust the color settings for the current project.

Defining After Effects color settings

For compositing and image manipulation in this project we will be using Adobe After Effects. Our course there are a lot of programs we could choose, for example, we could use Nuke or Photoshop, and you maybe wondering since this is a still image why I'm not using Photoshop. It's because Photoshop doesn't really handle 32 bit color properly. It's got some issues, especially when you try to down convert from 32 bit to 8 bit. It actually changes the colors in that process.

And that's very frustrating, especially if you worked very hard to get the colors just right, and then at the very last stage when you try to convert the color space it alters all the colors, and that's very problematic. So, I don't recommend using Photoshop if you're dealing with a 32 bit color space like our EXR files. However, After Effects deals with 32-bit just right, and so it's perfect for our needs here. Additionally, if you did have an animated sequence, like a turntable rendering of your product, then of course you wouldn't really effectively be able to deal with that in Photoshop.

In order to use these EXR files, we'll have to set up our color settings in After Effects. We don't have a project yet, but we need to set up our color settings and then save a project. Go into the File menu and choose Project Settings. And in this dialog, we can adjust the color settings for the current project. First and most importantly is the bit depth. It's currently by default set to eight bits per channel. But of course we've got EXR files which are 32 bits per channel.

So for the depth we'll choose 32 bits per channel, float. Next we have the Working Space. This is the color space, or how After Effects is going to internally interpret, the pixels. And currently Color Management is disabled, and so working space is none. In this case, for our working space, we want to choose something called sRGB. That's the standard for desktop computer color, and if we want our colors in After Effects to match what we saw in 3ds Max, then we'll want to choose sRGB.

And then finally we have the switch here that's labeled Linearize Working Space, and we do want to enable that. An ordinary image file like a jpeg or a png, has got something called embedded gamma. Gamma is the contrast curve of the image. And when Gamma is embedded in a file, what it does is, it basically stores less information in the shadows and more in the highlights where we're likely to notice it. So ordinary files have embedded gamma. However, an EXR file is linear.

It doesn't have embedded gamma. And so if we're working with linear files, then we want to use a linear working space, and that way when we do operations like add and blend they're going to operate more accurately. It's going to work better. It's going to look better. We're not going to have issues with our contrast being weird. In fact, you can see here, we've got a warning here. Working space'll be linearized, modified to have 1.0 Gamma. Ordinarily Gamma's 2.2. So this is going to have a Gamma of one, and that's going to Affect all blending operations.

And it's going to more accurately reflect how colors blend. All right, so we've got all of our project settings correct. And we'll click OK. And we will want to save the file. Even though we don't have anything in it yet. want to go to File > Save. And in the exercise files, there's a folder called After Effects. want to go in there, and store a file in there. Now we're going to call this one 05, 04, adjusting the image, cause that's the document we're going to open up the next movie.

Okay we got our color settings set properly for linear work flow.

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This video is part of

Image for Creating Product Shots in 3ds Max
Creating Product Shots in 3ds Max

42 video lessons · 956 viewers

Aaron F. Ross
Author

 
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  1. 5m 50s
    1. Welcome
      1m 1s
    2. Using the exercise files
      4m 49s
  2. 32m 32s
    1. Setting the Customize UI and Defaults Switcher
      1m 43s
    2. Choosing units and grid options
      1m 13s
    3. Importing a CAD file
      5m 12s
    4. Managing the scene hierarchy
      7m 46s
    5. Managing display layers
      3m 52s
    6. Working with Body objects
      2m 53s
    7. Modeling an environment sphere
      4m 17s
    8. Creating a camera
      2m 44s
    9. Framing the shot
      2m 52s
  3. 16m 46s
    1. Creating mental ray area spot lights
      4m 31s
    2. Creating photometric spot lights
      5m 9s
    3. Setting exposure for studio lighting
      3m 9s
    4. Controlling Final Gather
      3m 57s
  4. 1h 1m
    1. Creating Arch & Design materials
      7m 26s
    2. Creating an environment material
      6m 14s
    3. Enabling self-illumination
      5m 33s
    4. Applying procedural textures
      7m 20s
    5. Working with reflectivity
      7m 10s
    6. Creating a metal material
      4m 33s
    7. Adjusting highlights
      5m 4s
    8. Varying highlights with a bump map
      6m 43s
    9. Working with transparency
      4m 44s
    10. Adding ambient-occlusion nodes
      6m 40s
  5. 37m 47s
    1. Understanding image-based lighting
      2m 42s
    2. Creating a skylight
      2m 10s
    3. Adding a spherical environment map
      2m 51s
    4. Controlling bitmap coordinates
      4m 5s
    5. Setting exposure for image-based lighting
      7m 36s
    6. Adjusting materials
      5m 38s
    7. Modeling environment geometry
      5m 42s
    8. Self-illuminated image-based lighting
      7m 3s
  6. 50m 6s
    1. Controlling mental ray Sampling Quality
      5m 18s
    2. Rendering to the high-dynamic-range EXR format
      5m 52s
    3. Defining After Effects color settings
      4m 0s
    4. Adjusting the image
      10m 4s
    5. Setting up render elements
      7m 51s
    6. Creating ambient-occlusion materials
      6m 9s
    7. Layering specularity and reflections
      3m 47s
    8. Adding all render-element layers
      7m 5s
  7. 49s
    1. Goodbye
      49s

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