"Not all “log” spaces are equal. Most camera manufacturers customize a log encoding equation to optimize the usage of code values based on the camera’s dynamic range, noise characteristics, and clipping behavior. Examples of different log spaces include Sony S-Log, RED’s REDLog, Arri LogC, and the classic Cineon. Care must be taken during image handling to determine which log space is associated with imagery, and to use the proper linearization. If this metadata is lost, it is often challenging to determine after the fact which log flavor was using in encoding."
However, unless I am mistaken, spi-anim uses one log to linear conversion (the lg* space) for all cameras. I'm hoping someone might be able to explain the logic of this to me. Thanks.
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Yes, I understand what would be involved in changing the config if desired. I was just curious as to the reasoning behind not including these camera specific log encoding in the spi-vfx config in the first place. I know a lot of thought went into it and SPI, and was wanting to better understand the thinking here in light of Jeremy's comments in the OP. I'm sure it was not an oversight.
Deke can you say a bit more about primaries. I'm not familiar with that. Is that something ACES has that the spi* configs do not?
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