ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product.
Highlights of the key changes in ACES 2.0 are as follows:
New output transforms, including:
A less aggressive tone scale
More intuitive controls to create custom outputs to non-standard displays
Robust gamut mapping to improve perceptual uniformity
Improved performance of the inverse transforms
Enhanced AMF specification
An updated specification for ACES Transform IDs
OpenEXR compression recommendations
Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
Look Transform Library
Expanded documentation
Rendering Transform
The most substantial change in ACES 2.0 is a complete redesign of the rendering transform.
ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want.
Key design goals
Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
Minimize hue skews across exposure range in a region of same hue
Unify for structural consistency across transform type
Easy to use parameters to create outputs other than the presets
Robust gamut mapping to improve harsh clipping artifacts
Fill extents of output code value cube (where appropriate and expected)
Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
Spline Path Control is a simple tool designed to make it easy to create motion controls. It allows you to create and animate shapes that follow splines, and then export the result as a .webm video file. This project was created to simplify the process of generating control videos for tools like VACE. Use it to control the motion of anything (camera movement, objects, humans etc) all without extra prompting.
MiniMax-Remover is a fast and effective video object remover based on minimax optimization. It operates in two stages: the first stage trains a remover using a simplified DiT architecture, while the second stage distills a robust remover with CFG removal and fewer inference steps.
Depth of field is the range within which focusing is resolved in a photo.
Aperture has a huge affect on to the depth of field.
Changing the f-stops (f/#) of a lens will change aperture and as such the DOF.
f-stops are a just certain number which is telling you the size of the aperture. That’s how f-stop is related to aperture (and DOF).
If you increase f-stops, it will increase DOF, the area in focus (and decrease the aperture). On the other hand, decreasing the f-stop it will decrease DOF (and increase the aperture).
The red cone in the figure is an angular representation of the resolution of the system. Versus the dotted lines, which indicate the aperture coverage. Where the lines of the two cones intersect defines the total range of the depth of field.
This image explains why the longer the depth of field, the greater the range of clarity.
Dario Amodei, CEO of Anthropic, envisions a future where AI systems are not only powerful but also aligned with human values. After leaving OpenAI, Amodei co-founded Anthropic to tackle the safety challenges of AI, aiming to create systems that are both intelligent and ethical. One of the key methods Anthropic employs is “Constitutional AI,” a training approach that instills AI models with a set of core principles derived from universally accepted documents like the United Nations Declaration of Human Rights.
There are three models, two are available now, and a third open-weight version is coming soon:
FLUX.1 Kontext [pro]: State-of-the-art performance for image editing. High-quality outputs, great prompt following, and consistent results.
FLUX.1 Kontext [max]: A premium model that brings maximum performance, improved prompt adherence, and high-quality typography generation without compromise on speed.
Coming soon: FLUX.1 Kontext [dev]: An open-weight, guidance-distilled version of Kontext.
We’re so excited with what Kontext can do, we’ve created a collection of models on Replicate to give you ideas:
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
OpenColorIO (OCIO) is a new open source project from Sony Imageworks.
Based on development started in 2003, OCIO enables color transforms and image display to be handled in a consistent manner across multiple graphics applications. Unlike other color management solutions, OCIO is geared towards motion-picture post production, with an emphasis on visual effects and animation color pipelines.
