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6/25/2025, 6:07:11 AM
>>7621056
>Does it always look like this?
It doesn't have to, I simply tend toward that particular style, since it's very easy to adapt it for HDR display. But you can do just about anything you could do in a traditional workflow.
>And I personally find it suspicious no one discusses this method on the internet.
I don't. It's an incredibly obscure workflow for 2D art (half the people who know about it are probably in this thread), that has a very specific set of benefits that most 2D artists don't really require, especially for the amount of knowledge and setup required to utilize it. And even for people who would benefit from it, there are workarounds you can do in a traditional digital workflow that doesn't require you to relearn everything. If you're the kind of artist that just picks colors and paints them on top of the canvas, you don't need a scene-referred canvas, and in fact, it may actually slow you down. Tools like SAI and CSP don't even have color management, and simply assume artists will only even need an 8-bit integer perceptual-gamma canvas, since for 99.999% of artists, that's all they'll ever need. Even programs that do use scene-referred space for image data manipulation don't necessarily expose this to the end user. Photo and VFX often focus on editing already-existing data, and 3D CGI abstracts the working space away from the user, letting them focus on the art portion while the program itself calculates lighting.
Even I, which had a use case with my lighting-focused artwork, only really discovered this workflow by happenstance, and even then it was after two entire years after I started drawing. Before that, I would create 16-bit integer canvases (not scene-referred, 16-bit integer still maps 0 and 65536 to black and white). I had been "faking" a scene-referred workflow by using intentionally dark colors, then using a Color Adjustment layer to brighten the whole image.
>Does it always look like this?
It doesn't have to, I simply tend toward that particular style, since it's very easy to adapt it for HDR display. But you can do just about anything you could do in a traditional workflow.
>And I personally find it suspicious no one discusses this method on the internet.
I don't. It's an incredibly obscure workflow for 2D art (half the people who know about it are probably in this thread), that has a very specific set of benefits that most 2D artists don't really require, especially for the amount of knowledge and setup required to utilize it. And even for people who would benefit from it, there are workarounds you can do in a traditional digital workflow that doesn't require you to relearn everything. If you're the kind of artist that just picks colors and paints them on top of the canvas, you don't need a scene-referred canvas, and in fact, it may actually slow you down. Tools like SAI and CSP don't even have color management, and simply assume artists will only even need an 8-bit integer perceptual-gamma canvas, since for 99.999% of artists, that's all they'll ever need. Even programs that do use scene-referred space for image data manipulation don't necessarily expose this to the end user. Photo and VFX often focus on editing already-existing data, and 3D CGI abstracts the working space away from the user, letting them focus on the art portion while the program itself calculates lighting.
Even I, which had a use case with my lighting-focused artwork, only really discovered this workflow by happenstance, and even then it was after two entire years after I started drawing. Before that, I would create 16-bit integer canvases (not scene-referred, 16-bit integer still maps 0 and 65536 to black and white). I had been "faking" a scene-referred workflow by using intentionally dark colors, then using a Color Adjustment layer to brighten the whole image.
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