2017

Other colour management enhancements:
■ A new Auto mode in the MediaHub uses rules and format-specific colour space preferences to convert
various types of media to a common scene-linear Working space.
■ In Auto mode, the rules are resolved at import to assign a colour space to the clip. If you update your
rules, you can go into Pre-processing options for already imported clips and reselect From File or Rules
from the Input Colour Space menu in order to get the latest colour space from the updated rules.
■ For ARRI, RED, and Sony camera native formats, Auto mode converts directly to the chosen Working
colour space using the highest quality path (i.e. you do not have to worry about which camera-specific
Gamma and Colour primaries to specify in each format's SDK options).
■ In the Input Colour Space menu there is a + Add New option to allow users to add their own colour
spaces from LUTs or colour transforms. Doing this creates a ctf in the Shared directory specified in the
Preferences.
■ A new table in Colour Management Preferences allows the rules to be defined which assign a default
Input colour space based on filename.
■ The MediaHub Format Specific Options tab provides a Colour Management setting for temporary
adjustment of the Input colour space to assign when importing a specific format.
■ A selection of Input and scene-linear Working colour spaces are offered as menu options. These options
are currently the ones used in Maya and we are soliciting your input on the list you would like to have
for the release. The ability to add user LUTs is being worked on for an upcoming beta.
■ A new Input Transform tab in the clip Pre-Processing options allows adjusting the Input-to-Working
space conversion for specific clips.
■ A new Input Transform tab in the Clip, Read File, Render, Write File, and LUT Editor nodes also allows
the Input-to-Working space conversion (and its inverse) to be applied in ConnectFX.
■ A source's assigned colour space is now displayed in the MediaHub clip info.
■ New Input and Working colour space options for Media Hub.
■ New colour transforms in the Autodesk collection for transcoded RED media.
■ New default import rules for OpenEXR and DPX.
■ The LUT preferences page has been renamed Colour Management.
Player
■ It is now possible to display and manipulate the different Timeline FX icons directly in the Player, enabling
modifications at the Timeline level.
■ Edit Modes are available for GMask and Action, but only from the interface. Shortcuts cannot be used
at the Timeline level.
■ The Icons visibility can be enabled / disabled from the Player options menu, using the Show Icons /
Hide Icons option.
■ Player overlay selections now persist between sessions.
■ You can now toggle the status of Player overlays (Current Selection and Quick Off), using the Meta +
O keyboard shortcut.
Audio
The following are improvements to the audio capabilities of Smoke:
■ A de-esser effect is now available from the Timeline. A de-esser allows you to remove the excessive
prominence of the sibilant consonants (s, z, sh) in human speech, often time experienced in ads with a
heavily compressed audio dynamic range.
What's New in Smoke 2017 | 9