From the course: After Effects Compositing: 3 Advanced Matching and Looks
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A brief word on color spaces and linear light - After Effects Tutorial
From the course: After Effects Compositing: 3 Advanced Matching and Looks
A brief word on color spaces and linear light
Up to this point I've carefully avoided an important part of 32-bit per channel linear compositing. Specifically, we've looked at the benefits of 32-bit HDR without ever switching the color working space to Linear Light. After Effects is unique in giving you this choice, instead of close the topic for now. I want to give you an idea what Linear Light entails, and why it even exists. For the most part I've been switching bit depth right in the Project panel. But you can control it here in the Project Settings. Here my bit depths. Here's where I can set a working space, and for the most part I recommend this SRGB setting. And then once I've set the working space, I have the option to linearize the working space. Now watch what happens to this gradient in the background as soon as I click OK. It seems to have gotten much lighter. If I evaluate the color right at the crosshair, it's 0.5. If I undo that, it's also 0.5. What's going on? Well it turns out that although your eye sees this…
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Contents
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Understand why After Effects has three bit depths3m 38s
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Know the fundamental differences between HDR and LDR3m 40s
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Work in HDR, even when beginning in LDR2m 26s
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Be deliberate when establishing and breaking the 32-bit-per-channel pipeline2m 49s
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Freely work in HDR and render in LDR3m 34s
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Avoid the 32-bit-per-channel slowdown2m 10s
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A brief word on color spaces and linear light4m 28s
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