![]() ![]() ![]() ![]() The real work is in massaging the light values into shape. The important point though is to appreciate that the process of image formation is not quite as simple as saying “I use sRGB” sRGB is simply a display, and more or less an output medium. Will it have problems and bring additional pain and headaches? Absolutely. Getting from light data to an “image” is a potentially hugely nuanced and complex process, but make no mistake, sRGB doesn’t really play a role here until the image is fully formed.Ĭan someone manipulate the light data manually and end up at an sRGB encoding? Sure. That image can in turn be encoded for any display, including sRGB. To get to an image, the process of image formation manipulates the light data in some way, and arrives as an “image”. SRGB is a display encoding, so when we encode for it, we are more or less saying that our “image” is ready for display and finished.Ĭontrast this against a render, which simply isn’t yet an image it’s open domain light data, from zero to infinity. 99% of the images on the internet that we use for image references are srgb. Unless the majority of the images change to using the Filmic transform, this issue will remain in my opinion.įor this reason, I’m swayed towards grading for srgb. If you don’t match to what you see in the reference images, viewers could end up viewing your asset side by side with an image reference and thinking it doesn’t look realistic.įor this reason, I’m swayed towards grading for srgb. So as artists we are stuck between trying to match what the camera sees OR what you see in the reference images. BUT because the srgb transform doesn’t preserve the primary colors your not actually getting a real representation of the actual colors, as captured by the camera. ![]() Most reference images will have used the srgb transform. Unfortunately that would a time consuming task.Īnother issue where this is a problem is texturing. What would be really nice if somebody would color match filmic colors to the RAL srgb ones and put them in a color chart. If the original RAL colors were encoded using the Filmic transform this wouldn’t be a problem. It’s already been pointed out by other users that the Filmic Transform transforms the colors from scene referred to display referred differently by preserving the ratios between of the 3 primaries. It isn’t possible to using the Filmic setting, without processing by observation.įor Blender to display the colors as you originally saw them on the reference sheet requires using the same transform that was used to encode them. I know this thread is old but I just wanted to point out that its only possible to roughly match RAL colors using the srgb display transform. If you want pure colors, then you have to work with low light strength,means to avoid clipping,and dont use Filmic.In short to keep the light strength and renderoutput inside the black white range of the sRGB range.Īs said the middleground of colors are no prob with Filmic and high light dynamics up to around 80% then the compensation into the white kicks in.Įdit: The below information from myself is incorrect. With Filmic you have the possibility to render images with very high light str/dynamics.This means Filmic softens the last 20% of the highlight into a whitepoint to avoid colorclipping and hueshifts. You could try to put in the HEX value into the basecolor of your shader. The Nishita sky defaults light str is 1000w like real daylight sun.You have to turn down the exposure setting to get a light balance similar to a camera setup.In combination of Filmic just make a sphere object and give it a diffuse color of 0.18.(like a camera greycard).then turn down exposure to get a middle grey 0.5Īdditional,did you know what the color conversation tool does? I guess it is gamma corrected for display? ![]()
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