Tone Mapping

音调映射

Tone Mapping

音调映射

The renderers integrated in Cinema 4D always render internally using 32 bits. These color values must be interpreted in order to convert these to 8 or 16 bits for commonly-used output devices. A series of algorithms that use different methods are used to do this.

集成在 Cinema 4D 中的渲染器总是使用32位进行内部渲染。为了将这些颜色值转换为常用输出设备的8位或16位，必须解释这些颜色值。一系列使用不同方法的算法被用来做到这一点。

It’s difficult to recommend which operator should be used when. It’s best to test which one works best for the scene at hand.

很难建议在下列情况下应该使用哪个操作符。最好测试一下哪一个最适合手边的场景。

Generally speaking, the Rheinhard method is the most flexible method. It is based on photographical principles.

一般来说，莱茵哈德法是最灵活的方法，它基于摄影原理。

Note that Tone Mapping permanently modifies the image. If you are planning to perform a color correction in another application (e.g., Photoshop, After Effects, Nuke, etc.) you don’t have to perform tone mapping in Cinema 4D. Remember that images need to be saved with 32 bits if you want to get the full dynamic extent of the image.

请注意，音调映射永久修改图像。如果你计划在另一个应用程序中执行一个色彩校正映射(例如，Photoshop，After Effects，Nuke 等) ，你不必在 Cinema 4D 中执行音调映射。请记住，图像需要保存32位，如果你想得到完整的动态范围的图像。

Note also that Tone Mapping does not work correctly with the ProRenderer’s bucket rendering because the entire image must be available for Tone Mapping to work correctly. For the same reason, the first iterations can deviate greatly because Tone Mapping can react strongly to large changes in noise in the beginning.

还要注意的是，音调映射在 ProRenderer 的桶渲染中不能正常工作，因为整个图像必须可用于音调映射才能正常工作。出于同样的原因，第一次迭代可以偏离很大，因为音调映射可以在开始时对噪声的大变化作出强烈的反应。