ok, got it.
i was afraid the answer would be something like that, it can, but at least now i understand a bit more.
Thank You! [saved]
Hi,So long as LW2018+ encourage LDR limiting on HDR backdrops/textures to prevent specular fireflies (esp. from rough refl/refr), having LW load and/or render content in ACEScg (or Rec2020, for that matter) seems likely to cause at least as much harm as benefit.
I would say that also for 2018 will be nice add
Seriously, if you look at the article I cited above ("Idiot's Guide to ACES", link below), it does a reasonably good, concise job of explaining how it all works (as well as specifically how ACES is superior to a "working in Linear" approach).
Good refs I've found:
Toadstorm's "Idiot's Guide to ACES" blog article (also cited above)
Chris Brejon's ACES Tutorials
AMPAS' "ACES Guide" Primer
The main thing to understand is that a proper ACES workflow removes the need for most manual adjustments of input, view, and destination color spaces/gamuts, and replaces all that with a direct, reliable, standard and (somewhat) future-proofed approach to color spaces/gamuts. The inevitable popularity of UHD displays built around Rec2020 gamut standard (much broader than either sRGB or Rec709 gamuts) ensures proper color space/gamut handling will only become more important in the future. ACES support/integration mitigates a lot of that pain.
Exactly! Tone Mapping always reduces the dynamic range, that's what it's for.Which basically would be a clear No-No for to use the result in a compositing workflow as we loose all the benefit of a high dynamic range image.
It's exactly what you suspect it is: A dynamic-range-reducing tonemapper that attempts to give an image the "same sort of look" that comes from working in ACES, but does not actually enable "working in ACES" or anything similar. Its output is not really suitable for subsequent post work due to the tonemapped, narrow dynamic range present.Hi all, sorry to revive an old thread but it seemed this was the most fitting place for my question:
I am a slight bit confused about the use of the ACES Filmic pixel filter in LW2020.0.x . Maybe someone who might be smarter than me can share insights here:
So if I get it right LW can - at least in some way - handle ACES Color space. As there is the Tone Mapping Pixel Filter, right?
But applying it for actual Tone Mapping purposes, wouldn´t that mean to basically destroy all the benefits that come with the ACES color science system?
Also the help says (https://docs.lightwave3d.com/lw2020...ing-and-compositing/effects-window/processing - somewhere in the lower third of that page) that the pixel filter is "...taking the high dynamic range of a LightWave render and massaging the contents to display..."
Which basically would be a clear No-No for to use the result in a compositing workflow as we loose all the benefit of a high dynamic range image.
But isn´t that - a broadened color range - the essence of a workflow incorporating ACES?
Or is only the tone mapper part that´s using "ACES Filmic" different from the other pixel filters and I can safely output using ACES Filmic and expect an intact high dynamic linear image?
I find color management so confusing! But of course I had to download it and give it a play - more confused. TBH the sRGB preset in LW works for me just fine along with the tonemapping controls they added in LW2020.