> But I think we need to be careful to differentiate between
> getting images into the same whitepoint/primaries color space because they
> came from different sources -- like alexa wide gamut vs. an sRGB gamut image
> from a DSLR -- and a neutralisation (as in a grade) that I'm doing to make
> my plates match from shot to shot due to differences in shooting conditions,
> lighting, etc on set.

I agree with you on principle, but I feel like there is already room
to make those distinctions in OCIO itself.  Whatever neutralization
has been done needs to be done in a specific colorspace, so if we
tried to decouple things, it would get confusing.  I'd rather simply
let OCIO fully take care of these things and leave it up to the studio
to define how to differentiate them conceptually.

In terms of the factory profile, it probably makes sense to leave
context-sensitive neutralized colorspaces out entirely, since a studio
making use of that probably needs to define their own OCIO structure
anyway.

I do think it would be good to have some more control over which
colorspaces get exposed to certain nodes in Nuke.  Right now,
everything always shows up, but if we had control over this a studio
would be able to keep neutralization out of their write nodes and
confined to separate nodes, for example.

A common example of where neutralization would be needed as an input
colorspace would be on a precomp if work is being done on neutralized
footage and written to disk that way.  This is also a clear example of
where it would be good to be able to remove the neutralized space on
the read and write nodes if a studio is specifically trying to prevent
that from happening.

> I think this starts to get to what Nathan is saying about some sort of mini
> dynamic color transform pipelines that you can assemble and apply anywhere.
> I've had some thoughts about what the OCIO analog is to our current 1D LUTs.
> I don't want to lose the convenience of being able to define a "LUT" on the
> fly right in the project like we can now with the 1D LUTs. Maybe instead of
> a curve editor the next gen UI for this is a little stack of operations from
> a fixed list of what OCIO can do. Much of what we ship could be just 1D
> shaper LUT + 3D LUT, but why couldn't you bung a matrix + power + 1D LUT
> stack in on your root LUTs tab and pick it anywhere you get a "color space"
> knob...

This is a great idea, especially thinking about Nuke as an
off-the-shelf application, and not just a studio tool.  This stuff
worries me a little, though, as I feel like ad-hoc colorspace
transforms can already be implemented really well with nodes in Nuke,
and OCIO already lets you do most of what I can imagine ever wanting
to do via group transforms.  So while I can see the benefit of doing
something like defining an on-the-fly colorspace within a Nuke script,
I worry it could lead to redundant functionality, or over-complicate
the existing 1D luts setups.

One idea would be to provide some sort of intuitive interface for
designing OCIO colorspaces, and make use of the OCIO API to drop them
into the OCIO profile, so that the existing OCIO integration can do
all the heavy lifting, and the existing colorspace nodes can basically
stay the way they are.  Imagine, for example, something like the lut
generator that can turn any node sequence into a 3D lut as a named
colorspace in OCIO, and which does so on the fly when Nuke starts up.
Or, an even smarter colorspace generator that can take any sequence of
OCIO-savvy transform nodes and concatenate them as a group transform
for another colorspace in OCIO.  Basically, you'd need an OCIO Nuke
node for each of the possible color transforms available in OCIO
profile definitions, and some way to define the metadata for the
colorspace.

It would also be great if this same toolset could spit out text
definitions (and whatever luts are needed) for proper OCIO
definitions.  I like the syntax well enough, but it's certainly too
complicated for a lot of compositors.
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