![]() So, either these frequent requests come from people who is getting excited about Affinity (without knowing the limits of the product yet), or doesn't work professionally, hence asking for an AE alternative it's like asking for a scooter with a Ferrari in mind. What an AE artist thinks from time to time is "I should probably learn Nuke or get better with Cinema 4D". So, it would actually make sense to either ask for a 2d animation software or (better) look for it (and there are options), but an AE alternative? Do you guys realize what a huge demand is that? Let's just pretend it didn't happen.Īfter Effects animators market's demand would never make an AE artist think "I have spent all this time learning and finessing my skills, growth a good network, finally paying my bills, feeding my family and get a decent living, let's screw it and start over with a software which will be buggy, will under perform, unknown and that only a few will use. Anyone in this industry working professionally knows After Effects is not just a 2d animation program, it's way more than that. ![]() Mind you, I'm not saying people never complain, but wishing an Affinity After Effects nope, really, never happened.Ī few facts. I never heard any AE artists saying they want an After Effects alternative, and I've been in this industry for 20 years. You can check the profile used in Edit -> Color Settings.Right and most likely the others who are asking for this are also here on this forum. One important note that’s worth mentioning: you should use a sRGB color profile in Photoshop to match the colors of the generated LUT. You can find the code in the github repository at the end of the post. Except that by default DXUT creates a backbuffer with sRGB format, which makes us do the gamma correction in the shader (or create the resource view with the appropriate format). There isn’t much more to the implementation than that. When creating the LUT itself, the loading options are set so no mips are created as they are not needed (although even if you docreate mips, the shader uses SampleGrad to sample the top surface). The program uses a simple well-known trick for drawing a full-screen triangle with no actual vertex data for displaying a selected image and the shader modifies the color based on the LUT. We’re pretty much done here, so I’ll demonstrate how this “hard” work pays off with a simple sample based on, well, SimpleSample11 from the DirectX SDK (it runs only on Windows Vista SP2+). The code for generating the small LUT cube is nothing special, we just take discrete samples of the curve: That brings the memory footprint down to just 16KB for a single LUT! But how big should it be? 256^3? That’s 64MB for 32-bit color, totally unacceptable! As stated by Kaplanyan in his CryEngine 3 talk at Siggraph 2010, 16^3 seems to be enough and from my experiments I tend to agree with that claim. ![]() Now that we have our polynomial we have to make the LUT we’re talking about. ![]() They both work fine and I chose to use spline interpolation since it came to mind first. I’ll spare you the details, but you can find an explanation on cubic spline interpolation in any numerical analysis book or in the Wikipedia article. There are various methods for doing that, such as cubic spline interpolation or interpolation using Lagrange polynomials. And that’s where numerical analysis comes in handy. The curve is defined completely by a finite set of points, so we can paraphrase the question as “how do we obtain a polynomial that passes through a number of predefined points”. The question now is “how do we convert that curve to a lookup table”. Each curve point is a pair of short integers where the first number is the output value (vertical coordinate on the Curves dialog graph) and the second is the input value.
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