- HDRI CINEMA 4D EXPORT HOW TO
- HDRI CINEMA 4D EXPORT FULL
- HDRI CINEMA 4D EXPORT DOWNLOAD
Position and rotate the car so that it sits flat on the grid as in the image below. Extract the contents and import this step file: 01-AVENTADOR LP700.SLDPRT (SolidWorks Part File). Start off by downloading the CAD model (link above). A scene file (minus the car model) can be downloaded here. The HDRI and backplate images can be downloaded here. HDRI CINEMA 4D EXPORT DOWNLOAD
A car model is available for download here. We will also use the shadow_matte shader to composite the car model onto a photographic backplate. HDRI CINEMA 4D EXPORT HOW TO
It covers how to realistically shade the car model using the car_paintand standard_surface shaders. It will show you how to light the car model using an Arnold skydome_light. This tutorial will cover how to light, shade, and render a car model using an exterior HDRI and backplate image.
ACEScg - Color space for images that are already converted to ACEScg.Shadow_matte shader applied to floor plane. sRGB - recommended color space for sRGB image textures 8-16 bit (JPEG, PNG). RAW - for images that do not require conversion (scalar masks, Displacement, Roughness). Scene-linear Rec.709-sRGB - choose this for Linear images that use the Rec.709 or sRGB primaries/gamut (which are the same). The main color spaces for conversion will be: This is the space you need to use as the main color space for working with color set-up and light in your rendered images. 
ACEScg - This is a Linear space for working with CG/VFX. ACEScc and ACEScct - Logarithmic color spaces intended for color correction. ACES 2065- 1 - This is a wide-range Linear, color space, with a larger coverage than the human eye, so it is used for archival copies and transfer of material between departments. Gamut comparison (i mage courtesy of Haarm-Pieter Duiker and Thomas Mansencal)ĪCES contains different color spaces, we will look at the main ones: In those cases, the ACES system provides Output Transforms labeled "D60 sim." to simulate the D60 white point on a device calibrated to another white point (such as D65 or DCI). Ideally, the display device would be calibrated to match the creative white point, but this is not always possible. However ACES also provides transforms that adapt to D65, which is commonly used for video-oriented projects. The native white point of ACES is D60 and most cinema-oriented projects use this white point. For monitors such as sRGB or Rec.709, this is a dim environment (rather than a dark environment). Note that the ACES system documents the viewing environment to be used for each type of device. This could range from a simple sRGB monitor to an HDR monitor calibrated to Rec.2100-PQ, to a digital projector calibrated to DCI-P3. Your device (monitor or projector) and how it is calibrated. You'll want to choose the appropriate Output Transform for your situation based on the following factors: One of the benefits of the ACES system is that it provides Output Transforms for a wide assortment of displays and projectors. In practice, the RRT and ODT are combined and called an Output Transform. Output Device Transform (ODT) - Transforms to an output device, a transformation such as Rec. Reference Rendering Transform (RRT) - Color transformation from scene-referred to display-referred space, using an S-shaped tone curve, image preparation for output. Input Device Transform (IDT) - Color conversion from input material. No over highlight and clamp, on bright areas of the image. More accurate color display with no incorrect color values. Simplifying the matching of images from different cameras. HDRI CINEMA 4D EXPORT FULL
Preserving the full range of highlights, shadows, and colors. Predictable image display on a wide range of display devices. Wide range of color and light, exposure. It is also important that ACES allows you to create archival materials with a high dynamic range and wide color gamut, even taking into account possible future devices. This system allows you to store all the data of digital images in the same mathematical space, which allows a more consistent workflow during the transfer of working material between different departments. It is also a set of technical specifications for working with color, coding, and transformation. The Academy Color Encoding System (ACES) - is a free, expandable, device-independent color management and image sharing system developed under the auspices of the Academy of Motion Picture Arts and Sciences. The theoretical part will help you understand some of the basics of ACES, and how it works, before you get down to the practical part, and consider some of the nuances in setting up Color Management. 
The article is divided into two parts, theoretical and practical.
This tutorial provides information on how to configure Color Management to work with the OpenColorIO implementation of the Academy Color Encoding System (ACES), as well as a summary of what ACES is.
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