Are you a filmmaker struggling to realize the proper colour tone on your Redshift renders? Matching the tone of your Redshift renders in After Results could be a daunting job, however it’s essential for creating cohesive and visually beautiful content material. On this article, we’ll information you thru the great means of matching Redshift tonemapping in After Results, offering step-by-step directions and precious insights that can assist you elevate your colour grading abilities.
Earlier than delving into the technicalities, it is important to ascertain the importance of colour matching. Colour performs a pivotal position in conveying feelings, setting the temper, and guiding the viewers’s consideration. By matching the tone of your Redshift renders in After Results, you’ll be able to guarantee consistency throughout totally different photographs and keep the general aesthetic imaginative and prescient of your undertaking. Furthermore, it lets you seamlessly combine CG components with live-action footage, making a visually cohesive and immersive expertise.
To realize correct colour matching, it is vital to grasp the idea of tonemapping. Tonemapping refers back to the means of changing the excessive dynamic vary (HDR) output of Redshift into the restricted dynamic vary (LDR) of After Results. By adjusting the publicity, distinction, and different parameters, you’ll be able to convey the colours and brightness ranges of your renders consistent with the remainder of your footage. The right software of tonemapping strategies is important for creating real looking and visually interesting photographs that have interaction your viewers.
Matching Saturation and Colour Vary
A vital step in matching Redshift tonemapping in After Results is aligning the saturation and colour vary between the rendered footage and the ultimate composite. Here is an in depth information on the right way to obtain this:
Saturation Matching
Start by evaluating the saturation ranges in Redshift and After Results. Use the Lumetri Colour panel in After Results or adjustment layers to regulate the saturation till the colours within the footage match the rendered picture. You can even use instruments just like the Eyedropper device to pattern colours from the rendered picture and apply them to your footage.
Take note of particular areas throughout the picture, corresponding to pores and skin tones, skies, and vegetation, to make sure correct saturation matching. Changes could be made selectively utilizing masks or keyframes to create a extra nuanced impact.
Here is a desk summarizing the steps for saturation matching:
| Step | Description |
|---|---|
| 1 | Evaluate saturation ranges between Redshift and After Results. |
| 2 | Modify saturation utilizing Lumetri Colour or adjustment layers. |
| 3 | Pattern colours from the rendered picture to make sure accuracy. |
| 4 | Use masks or keyframes for selective changes. |
Adjusting Distinction and White Steadiness
Refining the distinction and white stability is essential for precisely matching the Redshift tonemapping in After Results. Observe these detailed steps for optimum outcomes:
Distinction Changes
To reinforce the picture’s distinction, make the most of the Ranges impact. Modify the center slider (gamma) to extend or lower the distinction. For finer management, use the black and white sliders to regulate the darkest and lightest values, respectively.
White Steadiness Changes
Correcting the white stability ensures correct colour illustration. Use the Colour Steadiness impact, and alter the next settings:
- Midtones: Modify the temperature and tint sliders to right the general colour forged.
- Shadows: Modify the Shadow temperature and tint values to reinforce the colour stability in darker areas.
- Highlights: Modify the Spotlight temperature and tint sliders to refine the colour stability in brighter areas.
| Management | Description |
|---|---|
| Temperature | Adjusts the coolness or heat of the colours. |
| Tint | Offsets the colour forged in direction of inexperienced or magenta. |
Tweaking Shadows and Highlights
To fine-tune the shadows and highlights in your picture, use the **Shadows** and **Highlights** sliders. These sliders alter the brightness of the darkest and lightest areas, respectively.
To regulate the shadows, drag the **Shadows** slider to the suitable to brighten the darkish areas or to the left to darken them. To regulate the highlights, drag the **Highlights** slider to the suitable to brighten the sunshine areas or to the left to darken them.
When adjusting the shadows and highlights, it is vital to maintain the next in thoughts:
- The **Shadows** and **Highlights** sliders have an effect on the whole picture, not simply particular areas.
- Adjusting the **Shadows** slider also can have an effect on the midtones, so watch out to not overdo it.
- Adjusting the **Highlights** slider also can have an effect on the whites, so watch out to not blow out the highlights.
Superior Shadow and Spotlight Adjustment
For extra superior shadow and spotlight adjustment, you need to use the **Curves** device. The **Curves** device enables you to alter the brightness of particular areas of the picture utilizing a curve. To make use of the **Curves** device:
| Step | Motion |
|---|---|
| 1 | Choose the **Curves** device from the **Instruments** panel. |
| 2 | Click on on the road within the graph so as to add some extent. |
| 3 | Drag the purpose as much as brighten the world or all the way down to darken it. |
Verifying Colour Accuracy
Verifying the colour accuracy of a Redshift render in After Results is essential for guaranteeing that the colours match the unique scene. Listed here are some strategies you need to use:
1. RGB Colour Values:
Evaluate the RGB values of a particular pixel in each the Redshift render and the After Results composition. Be sure that the values are as shut as doable or inside a suitable tolerance.
2. Colour Pickers:
Use a third-party colour picker device, corresponding to Adobe Colour Picker, to pattern colours from each the Redshift render and the After Results composition. Evaluate the sampled colours to confirm their accuracy.
3. Colour Charts:
Create a colour chart that accommodates a spread of colours, and render it utilizing Redshift. Import the colour chart into After Results and evaluate the colours to the unique. This helps determine any colour house discrepancies.
4. Colour Profile Checks:
Be sure that the Redshift render and the After Results composition are utilizing the identical colour profile. If mismatched, convert one of many photographs to match the opposite utilizing a colour profile converter or inside After Results itself. Confer with the desk under for extra particulars on colour profiles:
| Colour Profile | Description |
|---|---|
| Rec. 709 | Normal colour profile for HD video |
| Rec. 2020 | Extensive colour gamut profile for UHD video |
| sRGB | Widespread colour profile for net and on-line use |
Calibrating Screens for Redshift
To make sure correct colour matching between Redshift and After Results, it is essential to calibrate your screens.
{Hardware} Calibration
Utilizing a {hardware} calibrator, such because the Datacolor SpyderX or the X-Ceremony i1 Show Professional, is probably the most exact calibration methodology.
Observe the producer’s directions to attach the calibrator to your monitor and run the calibration software program.
Software program Calibration
If {hardware} calibration is unavailable, you need to use software program calibration instruments inside your working system or third-party functions.
In Home windows, go to “Show Settings > Superior show” and choose “Colour calibration.” In macOS, entry “System Preferences > Shows > Colour” and select “Calibrate.”
Calibration Settings
When calibrating your monitor:
- Set the white level to 6500K (daylight).
- Modify the gamma to 2.2, the usual for pc screens.
- Set the distinction and brightness ranges to realize an optimum stability.
- Use the calibration report back to confirm the accuracy of your calibration.
Verification and Iteration
As soon as you have calibrated your monitor, evaluate the colours in Redshift with After Results to make sure they match. If discrepancies persist, make slight changes to your calibration settings and repeat the verification course of till you obtain a passable match.
| Calibration Device | Execs | Cons |
|---|---|---|
| {Hardware} Calibrator | Most exact and constant Straightforward to make use of |
Could be costly |
| Software program Calibration | Free and extensively obtainable Much less exact than {hardware} calibration |
Could require handbook changes |
Modifying Switch Features
Switch features (TFs) outline how the unique HDR picture is mapped to the ultimate SDR picture, affecting the brightness, distinction, and colour saturation. Redshift’s ACES workflow makes use of a number of TFs:
- ACES CST: Transforms linear HDR information into ACES colour house.
- ODT: Optionally available tone-mapping operator that adjusts the general distinction and brightness.
- RRT/RRT+ODT: Tone-mapping operators particularly designed for ACES that improve distinction and protect colour accuracy.
Adjusting ODT Parameters
The ODT (non-obligatory tone-mapping operator) is a vital device for fine-tuning the brightness and distinction of the SDR picture.
In After Results, you’ll be able to entry the ODT settings throughout the “Redshift 3D” tab beneath “Tone Mapping”.
Key parameters to think about:
| Parameter | Description |
|---|---|
| Distinction | Units the general brightness and distinction of the picture. |
| Black Clip | Limits the quantity of black within the picture to stop crushed blacks. |
| White Clip | Limits the quantity of white within the picture to stop blown-out highlights. |
| Log Slope | Controls the steepness of the curve, adjusting the distinction at low brightness ranges. |
| Saturation | Adjusts total colour saturation, preserving hue and chroma. |
LUT-Based mostly Switch Features
Moreover, you’ll be able to make the most of Look-Up Tables (LUTs) as switch features. LUTs are pre-defined colour transformations that may emulate particular movie appears or inventive results.
To use a LUT, navigate to “File” > “Import” > “LUT” in After Results, choose your required LUT, and allow the “Use Colour LUT” possibility throughout the “Redshift 3D” tab.
LUTs present a handy and non-destructive option to alter the tone and colour of your SDR picture, permitting for fast and environment friendly colour grading.
Utilizing the Histogram Panel
The Histogram panel supplies a graphical illustration of the distribution of pixel values in your picture. It is a highly effective device for analyzing and adjusting the tonal vary and distinction of your picture.
Analysing the Histogram
The histogram is displayed as a graph with two axes: the x-axis represents the pixel values from black (0) to white (255), and the y-axis represents the variety of pixels at every pixel worth. A histogram that peaks on the left signifies an underexposed picture, whereas a histogram that peaks on the suitable signifies an overexposed picture. A histogram that’s evenly distributed throughout the whole vary of pixel values signifies a well-exposed picture.
Adjusting the Redshift Tonemapping
To regulate the redshift tonemapping, open the Colour Correction panel and navigate to the Curves tab. Click on on the “Hue vs. Hue” curve and drag the curve to the left to extend the quantity of redshift or to the suitable to lower the quantity of redshift.
Superior Histogram Evaluation
The histogram panel additionally contains a lot of superior options for analysing the tonal vary of your picture. These options embrace:
- Logarithmic View: This view compresses the histogram in an effort to see extra element within the highlights and shadows.
- RGB Histogram: This view reveals three separate histograms for the purple, inexperienced, and blue channels.
- Histogram Statistics: This view shows a desk of statistics in regards to the tonal vary of your picture, together with the minimal, most, and common pixel values.
| Statistic | Description |
|---|---|
| Minimal | The darkest pixel worth within the picture |
| Most | The lightest pixel worth within the picture |
| Common | The common pixel worth within the picture |
| Normal Deviation | A measure of the unfold of pixel values within the picture |
Saving and Reusing Tonemapping Presets
To save lots of your personalized tonemapping settings as a preset for future use:
- Open the Redshift Tonemapper panel.
- Modify the tonemapping settings to your required values.
- Click on the “Preset” button within the panel.
- Choose “Save Preset” from the menu.
- Enter a reputation on your preset and click on “Save.”
To reuse a saved preset:
- Open the Redshift Tonemapper panel.
- Click on the “Preset” button.
- Choose “Load Preset” from the menu.
- Navigate to and choose your saved preset file.
- Click on “Open” to load the preset.
You can even share your presets with others by exporting them as .json recordsdata. To export a preset:
- Open the Redshift Tonemapper panel.
- Click on the “Preset” button.
- Choose “Export Preset” from the menu.
- Enter a reputation on your preset file and click on “Save.”
To import a preset from a .json file:
- Open the Redshift Tonemapper panel.
- Click on the “Preset” button.
- Choose “Import Preset” from the menu.
- Navigate to and choose the .json preset file.
- Click on “Open” to import the preset.
By saving and reusing tonemapping presets, you’ll be able to shortly and simply apply constant colour grading to a number of tasks.
Changing Redshift Colours to After Results
Redshift’s ACEScg output is just not instantly appropriate with After Results’ default colour house. To match the colours between the 2 packages, it’s essential to convert the Redshift output utilizing a colour transformation matrix.
ACES to sRGB Conversion Matrix
The next matrix converts ACEScg to sRGB:
| R | G | B | |
|---|---|---|---|
| R | 1.01733513 | 0.05599700 | 0.04091189 |
| G | 0.04497747 | 1.12382760 | 0.01156677 |
| B | 0.00965785 | 0.07972812 | 1.30129267 |
You may apply this matrix in After Results utilizing the Colour Correction impact.
Making use of the Conversion Matrix
To use the conversion matrix in After Results:
1. Create a Colour Correction impact and add it to the layer with the Redshift output.
2. Set the Colour House to Guide.
3. Within the RGB Matrix tab, paste the conversion matrix into the Enter Matrix subject.
4. Set the Output Matrix to sRGB.
This can convert the colours from ACEScg to sRGB, matching them to the After Results colour house.
Troubleshooting Colour Mismatches
In the event you’re encountering colour mismatches between Redshift and After Results, observe these steps:
1. Examine LUT Rendering
Be sure that each Redshift and After Results are utilizing the identical LUT for rendering. Mismatched LUTs may cause colour discrepancies.
2. Confirm Colour Profile Conversion
Affirm that the colour profile conversion settings in Redshift and After Results are constant. Totally different colour profiles can result in colour variations.
3. Examine Materials Settings
In Redshift, look at the fabric settings to make sure they’re correct. Mismatched materials properties (e.g., diffuse colour) may cause colour variations.
4. Evaluation Lighting Situations
Examine the lighting circumstances in each Redshift and After Results to make sure they’re comparable. Variations in lighting can influence colour rendering.
5. Evaluate Picture Dimension and Decision
Confirm that the picture dimension and backbone in Redshift and After Results match. Scaling variations can result in colour discrepancies.
6. Examine Tonemapping Parameters
In After Results, fastidiously alter the tonemapping parameters to match the tonemapping utilized in Redshift. Mismatched tonemapping settings may cause colour shifts.
7. Contemplate Digicam Publicity
Study the digital camera publicity settings in each Redshift and After Results. Totally different publicity ranges can have an effect on colour rendering.
8. Examine Publish-Processing Results
Disable or alter any post-processing results utilized in After Results. These results can alter colour notion.
9. Evaluate Colour House Settings
Affirm that the colour house settings in Redshift and After Results are similar. Mismatched colour areas may end up in colour variations.
10. Examine Rendering Settings
| RedShift Setting | After Results Setting |
|---|---|
| Main Sampling | Sampling High quality |
| Secondary Sampling | Refinement |
| Tonemapping Methodology | Tone Mapping Methodology |
| Output Black Degree | Black Degree |
| Output White Degree | White Degree |
Guarantee these settings are constant between the 2 functions to reduce colour mismatches.
How To Match Redshift Tonemapping In After Results
Redshift is a robust rendering engine that may produce beautiful photographs. Nevertheless, its default tonemapping settings can typically be too contrasty or saturated for some tasks. On this tutorial, we’ll present you the right way to match the tonemapping of a Redshift render in After Results.
First, open the Redshift render in After Results. Then, create a brand new adjustment layer and add the Redshift Tonemap impact. Within the impact’s settings, you’ll be able to alter the next parameters:
- Publicity: Adjusts the general brightness of the picture.
- Distinction: Adjusts the distinction between the lightest and darkest areas of the picture.
- Saturation: Adjusts the depth of the colours within the picture.
- Gamma: Adjusts the general brightness of the picture.
Experiment with these settings till you discover a look that matches the tonemapping of the Redshift render. You can even use the eyedropper device to pattern the colour of a particular space within the Redshift render and match it to the After Results adjustment layer.
When you’re pleased with the look of the tonemapping, it can save you the adjustment layer as a preset. This can mean you can shortly apply the identical tonemapping settings to different Redshift renders sooner or later.
Individuals Additionally Ask
How do I match the colour of a Redshift render in After Results?
To match the colour of a Redshift render in After Results, you need to use the eyedropper device to pattern the colour of a particular space within the Redshift render and match it to an adjustment layer in After Results.
How do I alter the distinction of a Redshift render in After Results?
To regulate the distinction of a Redshift render in After Results, you need to use the Distinction parameter within the Redshift Tonemap impact. Rising the Distinction worth will enhance the distinction between the lightest and darkest areas of the picture.
How do I save the tonemapping settings from a Redshift render in After Results?
To save lots of the tonemapping settings from a Redshift render in After Results, it can save you the adjustment layer as a preset. This can mean you can shortly apply the identical tonemapping settings to different Redshift renders sooner or later.
