I would not say that editing the OCIO Config is a workaround. You are basically just writing the colorspace you need in one block. That is a quite important feature of OCIO I would say.
If you wish to modify the OCIO Config like I did, you need to choose two things first :
Which “display” colorspace you are targetting ?
Which look will you use ?
Only then you can write the colorspace you need in one single block.
I chose P3 because my monitor/display is P3 and “High Contrast” because I like how my renders look with it. Having said that, P3 is also a good colorspace for scene-linear rendering. This is what we used on the Lego movies.
From this link, Apple P3 looks similar to DCI-P3 with a D65 white point. I don’ t know much about it to be honest. I don’t own any Apple product.
The Display P3 color space, created by Apple Inc. This color space uses the DCI P3 primaries, a D65 white point, and the same gamma curve as the sRGB color space.
Render to a working space with imaginary primaries that don’t mean anything?
These are the sorts of basic questions that few to no one is asking enough. There is a massive problem here, but I am very curious as to the reasoning.
How would people feel about me putting together a post for Blender Nation with links to the filmicinBlender, and the Natron and Nuke addons as well, plus a quick writeup? I’ll post the writeup here first for comments, and credit everyone properly.
Or if someone else wants to do that that’s fine by me, but I think SOMEONE should do it.
I would also suggest that everyone posts thier addons to gumroad or github as these are kinda perminant in a way google drive links arn’t always.
Rec 2020 was developed for UHD TVs. Everybody who has a 4k TV… that far from “no one has”. You can’t even buy an HD TV anymore. They are all 4k. If you work on a show for Netflix, Apple TV or Amazon, you will have to deliver in REC2020 as these guys only make 4k projects.
From Wikipedia: During the development of the Rec. 2020 color space it was decided that it would use real colors, instead of imaginary colors, so that it would be possible to show the Rec. 2020 color space on a display without the need for conversion circuitry.
Except that no monitor/display covers 100% of Rec.2020. None. Closest is the quantum dot display presented by Samsung this week and covers 90% of it.
The Rec.2020 deliveries you are referring to are only a “container”. Most (all ?) of the time they are actually limited to P3 (for display). It was confirmed several times during the ACES VWG by Netflix people.
Troy is actually referring here to the non-physically realizable (imaginary) primaries of ACEScg. It has also been confirmed by ACES people themselves that the choice of AP1 primaries was “complex and controversial”.
Well, when we started to make shows for Netflix and they asked for 4K, we said “nobody has a 4K TV, what’s the point?”. So it’s not because now we can’t display the full range that we won’t be able to do so later.
This is surprising. All his credits are as a grip (on big shows too) but not as a VFX artist. So I’m curious, @troy_s, have you worked in VFX studios too?
Yes totally. We have discussed a lot with Troy about how many people/companies want to be future-proof in their color management. It is almost a philosophical question but I think it would be fair to say that there are both pros and cons about choosing Rec.2020 as a working space.
I just ask our IO guy, for The Morning Show, for Apple TV, we delivered EXRs. We did delivered a remastered version of the movie C.R.A.Z.Y with a 4k upscale in REC2020 for the 4k Blu-ray release. But I can ask because we have all the specs for these companies.
Yeah, sure. The point was that if the client ask us to deliver rec2020, we’ll do it. If he wants EXRs, we’ll do it. If he wants animated GIFs, we’ll do it (but curiously it never happened)
We are finishing a feature film right now and the client wanted 6k! That was totally insane. It was hell in compositing, it was hell on the network and the render farm. Then all the VFX shops complained about it (we’re not the only VFX provider) and they went for 4K. And we learned a week ago the the final delivery would be… guess what… HD!
The day the industry goes 8K, I will retire… I’ll just do my Blender Bob clips and live on my 50$ a month I get from YouTube…
The small shop I started out in (two people, eight at most) have been doing 8k for a couple years (iirc the NHK still is the main client for that sort of resolution). They just upscale everything from 4k, and it seems to work nicely. Clients don’t need to know, and honestly pictures are crisp… of course I haven’t done any scientific comparison but they seemed flawless at least on the 8k TV they use for grading. But yes, this requires storage and bandwidth to an obscene level.
I try not to jump to conclusions based strictly on IMDB info. If you look me up you’d find that the majority of my credits are in audio and music, but I’ve been active in video post-production since 1999, and jumped head-first into CG and VFX in 2009 and haven’t looked back since. Nowadays many of my VFX/CG full time friends come to me for advice or sub-contract me to handle shots that they don’t have the skills or expertise to handle – and yet if you compare my IMDB credits to theirs, you’d be scratching your head as to why in the world they would come to a composer for help!
Bottom line – Troy obviously knows his stuff when it comes to color science and if he chooses to make his living as a key grip I don’t blame him at all (bonus points – he’s got union benefits whereas VFX artists don’t)!
It depends who the client is. In Robert’s case it might not necessarily be Netflix or Apple but rather someone like Company 3 who might be handling the DI color and finishing, so they might have their own intermediate specs independently of the final client’s delivery specs (but in that case, I would think they would just ask for an ACEScg EXR output from the VFX house).
I think some of the communication is getting a bit confusing in this thread since we’re all trying to use a short-hand to communicate our thoughts, and that shorthand isn’t always clear.
