I wanted to ask around who used nuke in different facilities and in what way does it influence the colorspace handling.
I used it in its early (not DD early) days at The late Orphanage. We had no external color pipeline.
standard FiLm 10bit LOG DPX -> Nuke -> File in converts it into float srgb linear -> comp -> write node 10bit log dpx with cineon conversion -> final
In one shop they had to have more color continuity and linearized all LOG plates into 16bit linear exr sequences.
standard FiLm 10bit LOG DPX -> LINEARIZE 16bit linear exr -> Nuke -> File in converts it into float srgb linear (just a bit depth change)-> comp -> write node 16bit exr linear-> LOG CONVERSION outside nuke -> final
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I am asking because a certain big studio in culver city started to use Nuke and they have a complicated inhouse proprietary color pipeline. from off the shelf maya to LUTS in shake and nuke to film scanners and calibrated sweatboxes.
At the moment I feel my nuke is crippled. Im am getting dpx plates that are supposed to be linearized but still look log to me. we have the color IP toggle on linear (that looks wrong to me) and a Film Lut toggle to mimic the end result that looks fine.
the problem of all this is that some things break (e.g IBK) or work poorly.
this is all a temp solution as Alice in Wonderland is the first show to use nuke as far as I am aware.
Any thoughts?
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