On Mar 7, 2015 5:29 AM, "Xavier Thomas" <[email protected]> wrote:
> What do you mean by no scopes in the compositor? > I don't consider the scopes of the sequencer nice, I consider them horrible > and horribly slow; they really should be ported to openGL and reuse the > code of the image scopes. The scopes via UV are great, and I too wish the the Viewer were somehow more central to viewing. Perhaps that fits in with Mr. Wilkin's and Mr. Riakiotakis' work? We have a relatively minor issue in that the scopes assume a hard coded color space. I have a proposal to integrate an XYZ role to alleviate this, but I have to get it written up and submitted to Sergey. Hopefully then we can update the scopes to work against arbitrary reference spaces. > I agree that the compositor is not the best place to do grading and I think > the sequencer would be better. I would suggest that the VSE is sub-optimal on a number of fronts if considered alone, with some significant potential upside. Of note: A) The VSE was designed for realtime playback. As such, most of the VSE's work has legacy low quality 8 bpc code paths. B) Contemporary grading suites all leverage nodal compositing due to the complexity of grades. So in terms of a grading design, I might suggest: A) Rework the VSE to use a fully “offline” system. That is, leverage the shot based nature to streamline proxy work for the editing, blocking, timing, and preview portion. B) Rework the VSE to provide a conforming / grading / finishing “online” mode that works with a compositor view. Likely another compositor mode that allows the full 32 bit algorithms to work for the highest quality output. Some elements that would need further fleshing out, but it would at least appear to be the foundation for a decent system without significantly altering the overarching existing design for Blender. An additional compositor mode and some VSE glue. The only stumbling block would be the need for the VSE's curves to accept OCIO transforms. For example, if an artist draws a linear diagonal curve for a transform, if the artist is working in a display referred space, the diagonal line can be assumed to be a nonlinear representation. To get a proper dissolve / fade / over, it would need to be inverted via the OCIO transform and the composite would be performed on linearized data at whatever the reference primaries are. With respect, TJS _______________________________________________ Bf-committers mailing list [email protected] http://lists.blender.org/mailman/listinfo/bf-committers
