So I just tested the blend file, did the render, output to Aftereffects and it’s working for me. It seems as though exr functionality may be missing from older versions.
So the next thing you might want to try is testing this in the latest version of adobe CC if you can grab a trial. OR find a plugin that provides better support for EXR. Have you tried the plugin I mentioned above? (EXR-IO) That’ll get you by with Photoshop. There would be others like that for AE.
I agree, it’s much better work in Filmic than sRGB. Actually I think working in linear color space is default now for other 3d softwares too, coming from my C4D experience where linear sRGB is default. I’ll try the solutions suggested here to get the same look in after effects.
It was maybe confusing the way I spoke about filmic, but I know what filmic is good for. I’m simply telling you guys it doesn’t make sense that it’s on by default, and that’s yet to be proven otherwise tbh.
Even from standpoint of having more dynamic range of colors, why not leave the default at ‘Filmic Log’?
my argument stands, and I’ll make it even more clear:
Filmic is very flexible and awesome. IF you’re working IN Blender OR software that SUPPORTS it.
Always had that understanding.
But does this guy have filmic settings in after effects? it doesn’t appear so…
Damn Blender and it’s alternate names for things. (I’m kidding, I love blender btw)
Playing devils advocate about my argument because I care more about being corrected than being right
Because the basic sRGB nonlinear transfer functions (OETF / EOTF) were designed to describe an aspect of device response and never for rendering. This configuration is a step towards providing imagers with a reliable camera rendering transform and a base of aesthetic looks useful for modern raytracing engine CGI, animation, and visual effects work with real-world cameras. "
It does appear to be visually closer to SRGB while having that high dynamic range. That’s the argument I wish someone made STILL though, I can’t simply pass filmic transform renders to my team, they’d ask me to re-render in RGB or linear. Most people don’t composite much directly within Blender like the OP.
While we’re here though, I kind of wish that Blender just called it Linear instead of Filmic Log. This post might never have happened if it were more intuitive like that. Most people refer to it as Linear.
Filmic is a display transform. If you need your render to display the same in other applications it will have to go through the same display transform. So, either apply the transform before the image leaves Blender, or after it arrives in After Effects.
btw, linear is not a colour space, and when mentioning gamma, please refer to GammaCat’s excellent advisory -
I mean linear as an sRGB with 1.0 gamma.
I guess this is how you set up linear sRGB in Blender. Well at least these are the settings which makes pictures the same for me in Blender and After Effects without additional manipulations and OCIO.
Since we’re on this topic, I wonder if you can share some more of what you know. I’m trying to find a way to leverage filmic color transformation in my comps while allowing compatibility for SRGB inputs.
As you know, my co-workers will hand me SRGB images for further composition/transformation (Which isn’t ideal). Say that despite that I still want to TRY and work with Filmic so I can combine that with effects that I have more range to control, what are the map range conversions I would need to make to get the display to match SRGB in Filmic color?
EDIT: I might just create a new topic for this as I can’t find a single answer to this anywhere on google. Almost every forum discussion involving filmic in Blender is some guy writing tomes of information that the OP never asked for or needed when literally all that was necessary was saying ‘Take your input SRGBs and plug them into a gamma node with 1.36213’ - or something specific and helpful like that. Knowing the details is secondary, and non-essential to getting making turn over in time.
The entire point of .EXR is that it strictly captures data. When you “display it” – on any device, with any software – there has to be a decision as to how to map the data in the file to what the target device (including “your screen”) can actually do. Two common ways to do that are “sRGB” and “Filmic,” but the mapping is actually arbitrary. Two different pieces of software may not, by default, perform the mapping in exactly the same way. But, they can be made to do so.
When you use .EXR throughout your pipeline, you save this color-mapping (and other things, like compression) to the very last steps, when you are producing a particular deliverable file from your final-cut data master. The data passed through the entire pipeline unmolested, up to the actual moment when you’re creating an "image file" from it for use on a particular target.