8/27/2023 0 Comments Aces workflow for autodesk flameHowever, your crappy monitor can’t display this whole space. So, we know we have ACESCG as the color space we want to work in. There are other color spaces defined in the ACES specification, including the ACES 2065-1 space for archival and interchange purposes, but as a CG artist the only one you really need to worry about for now is ACESCG. The same exact scene, with the colors first converted to ACEScg, displayed with the ACES sRGB LUT.ĪCEScg is the ACES color space of choice to use for CG artists because it’s linearly encoded (as opposed to logarithmically, which tends to be how non-CG people like to think about exposure), so your render engine and compositing program of choice will play nicely with it.You can tell right away that the colors you get are significantly more “real”, especially at the extremes of brightness and saturation. Here’s a quick example showing you the difference between a render in your typical sRGB “linear” workflow, and an ACES workflow. It’s time to put away your NKOTB World Tour t-shirt. 709 standard was developed back when we were still using CRT monitors and wearing acid washed jeans. ACEScg, on the other hand, uses its own set of primaries called “AP1”, which allows for that nice big triangle o’ colors in the diagram above. What we usually call “sRGB” is also using the sRGB primaries, but with a 2.2 gamma curve applied in order to make it display properly on typical monitors. What we typically think of as “linear” versus “sRGB” is a bit of a misnomer… a linear colorspace can use sRGB primaries, which is what most of us outside of ACES are dealing with when we’re working with “linear” textures or renders. Who’s got the biggest gamut? Who does? Is it you, ACEScg? Yes, it is! Who’s a good gamut? ![]() Even if you’re working in a linear colorspace with floating-point renders, the so-called “linear workflow”, your color primaries (what defines “red”, “green” and “blue”) are likely still sRGB, and that limits the number of colors you can accurately represent. 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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