![]() I guess that makes it extremely flexible but also might cause confusion. At any point you can manually intervene and change what you want. So in effect what you did was completely correct but the colour policies help define what transforms you'll have available on the viewport, (eg, REC709, LOG, ACES SD etc) and it is also tells Flame how to handle different types of media. The rules try automate this but most people use the manual approach with the colour management node so they know exactly what they are looking at. They will retain their colour space unless you interpret them differently. So importing a rec709 or log clip into Flame with the "ACES 1.1" policy, does not mean that those clips will be magically converted. This is just a set of guidelines, defaults and interpretations. Create a new scene in Lumion from the opening menu. Once you have the file exported to the location you want, open up Lumion. Typically, it won’t take too long unless you have an enormous model. braw clip using the LUT stored in the file if one is available. Fallback to the embedded LUT if there is no sidecar LUT. braw clip using the LUT stored in the sidecar file if one is available. The fact that the colour policy is called ACES or scene-linear does not make the project a singular colour space and everything is "forced" into that colourspace. The export time Depends on the settings you’ve chosen and the hardware of your computer. braw clip using the LUT stored in the sidecar file. We have a variety of policies available with the install and you can make your own as well. The colour policy is simply a set of rules as to how the colour is managed and displayed in Flame. I think the problem stems from a misunderstanding of the colour policy setting in the project creation window. When it comes to outputting your deliverable, you will take the final log result and output that with the REC709 view transform and it should be fine. There is absolutely nothing wrong with that. Please hit the Accept as Solution button if my post fully solves your issue or answers your question.įrom your description, it sounds like you went with my first suggestion of tone-mapping the graphics to match the colourspace of the footage. In both methods, the colours of either input may change with a LUT/tone-mapped conversion but this is not uncommon to my knowledge. This means your footage will be in the right colour space for delivery (eg REC709 but might look slightly different from the tone mapping) and your graphics should look the same because they are still in their REC709 colour space. Once the footage has been converted to REC709/REC2020, then you would composite your graphics on top of that result. ![]() So you would take your footage/composite and use a CM node to convert it into its deliverable colour space (you may use the view LUT or something else). Let's say you are compositing in Log but are delivering at REC709 or REC2020. ![]() The second choice is based on your deliverable. This means that your footage should remain the same in the chosen colour space but I believe that your graphics may or may not look the same.Ģ. If you want to composite your graphics and footage in a specific colour space (say Log for example), you would need to convert your graphics first with a CM node and then composite on top. So it is no longer necessary to keep previous transform collections installed on a workstation in order to load archives created in previous releases.Unless I am mistaken, you have two choices.ġ. Applications/Autodesk/Synergy/SynColor//transformsĪs of the 2017.1 release, the Autodesk Transform Collection is a superset of all previous releases. opt/Autodesk/Synergy/SynColor//transforms
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