Vfx shot
- Thread starter Samuel Olalere
- Start date
Get them to work in ACEScg
Have the VFX artist return the completed shot in the same color space that they received the media in.
Ex. If your example was shot in Arri LogC, the VFX artist will do their compositing work and render a completed shot in Arri LogC. The output media should ideally look like a duplicate of your original media with the addition of the composited helicopter which should appear to have been captured in camera.
Ex. If your example was shot in Arri LogC, the VFX artist will do their compositing work and render a completed shot in Arri LogC. The output media should ideally look like a duplicate of your original media with the addition of the composited helicopter which should appear to have been captured in camera.
Thank you
Oh okay
I wish VFX artist and colorists would swap notes more. Especially freelance VFX artists can be resistant to log-for-log workflows and or do not question editorial enough when they receive low-quality plates with luts/proxies baked in.
This!
I think the 'correct' way is to send erx ACES cg or AP 0 (linear) and have them return it in the same
That may be desirable for ACES compliant workflows (ACES AP0-Linear) to limit pipeline confusion, but not at all necessary for general vfx workflows. I would personally say that the ideal would be to send VFX the OCN aka the original source footage, be that ProRes or RAW in full or trimmed form with proper timecode and a reference mp4 to verify. If that creates too much confusion or is not feasible, the next best would be either EXR in camera native gamut - linear or camera native gamut - camera log DPX 10bit or ProRes4444. Then in that process ask VFX to comp in that space and return in the exact same space.
Even though ACES is pretty standardized when it comes to implementation in software not everyone needs it, and ACEScg as compositing working space isn't necessarily the best when dealing with potential color information that is outside of it due to the camera native gamut.
The reality seen from my experience however is that in commercial/advertisement more often than not grading happens sooner than vfx which causes VFX to be comped on graded 709 material. Sometimes this actually works better depending on which station needs revisions or new variants more often later down the line. Otherwise you end up requiring both departments to keep updating the shots. Think cases like product replacement for a new product/label or different country.
Regardless of what you end up doing, communication is key to understand each other and the workflow intent. And you'll want to have VFX send you a sample round-trip first thing to verify the pipe is working as planned.
