Join Mark Christiansen for an in-depth discussion in this video Avoid the 32-bit-per-channel slowdown, part of After Effects Compositing: 3 Advanced Matching and Looks.
…If there's one thing I've wanted you to get…about working in 32 bit HDR mode, it's that when…you're creating these kind of over range elements this…is the fastest way to get a really nice result.…The irony is many artists avoid working in this…mode at all because it's perceived to be slow.…So, here's a quick quiz.…If I change my bit depth to 16, how much faster does After Effects render it?…Two times?…What about at eight?…Is it four times faster?…I'll create a 30 frame preview of this particular movie.…
And just try it again at eight bits.…Now, I don't expect you to be timing this at home, but I timed it.…And the difference is about 15%.…Now, I'll grant you, this is a single…layer that's been taken to over range, so really,…this isn't like testing an entire elaborate project…full of over range values moving up and down.…But if you've experienced 32 bit per channel being a slow mode,…you may have been working with a much older version of After Effects.…It's been optimized over time.…
Unfortunately, there is no way to isolate the 32 bit…
Author
Released
6/16/2014- Advanced color correction with multiple objects and Curves
- Adding a light-wrap effect to composite into a backlit scene
- Compositing into lens distortion
- Recognizing and fixing rolling shutter
- Matching motion
- Working in HDR
- Create cinematic color contrasts with Mojo
- Customizing a film look with Looks
Skill Level Intermediate
Duration
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Introduction
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Welcome50s
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1. Basic Color Correction Tools
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2. Working with Light
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3. Understanding Artifacts of the Camera
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Understand lens distortion4m 29s
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4. Motion Through the Camera Lens
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Set up the retime shot4m 18s
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Use Time Remap7m 27s
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5. Taking Advantage of High Dynamic Range
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6. Introducing Color Grading
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Video: Avoid the 32-bit-per-channel slowdown