Color Management Part 23: HDR tone mapping in practise
When John Lennon said “Life is what happens while you’re busy making other plans”, he might have been talking...
Color Management Part 22: Introducing Tone Mapping
Tone Mapping is an integral part of modern video post production, but I didn’t even realise it was a...
Color Management Part 21: HDR formats, colorspaces and TLAs
High Dynamic Range video is a new frontier for many After Effects users, but despite the clear advantages it...
Color Management Part 20: HDR Compositing just looks better!
High Dynamic Range compositing, using 32 bit float mode in After Effects, just looks better. It’s that simple, and...
Color Management Part 19: High Dynamic Range – introducing HDR
High Dynamic Range video, or HDR, is the reason this entire series on color management exists. So it’s pretty...
Apple dares you to make cinema with the ACES supported, USB-C powered iPhone 15 Pro
It came 77 minutes into the September 12th Apple event, after the iPhone updates that will “change mobile gaming”…...
Color Management Part 18: Bit Depth
After Effects has a project-wide bit depth setting, but individual plugins may or may not support all bit depths....
Color Management Part 17: Linear Compositing
Linear compositing can be a tricky subject. Many years ago a few of my colleagues started discussing it. One...
Color Management: OCIO & ACES in AE 2023
After Effects now has OpenColorIO and ACES built in. While that is great news for digital artists, it also...
Color Management Part 16: RAW video files
When compared to the long history of film and television, RAW video formats are relatively new. The concept of...
