An investigation on whether “respecting” plate colour in a VFX pipeline makes any real difference
Until 2020, I always had worked either without any real colour management, or in an environment where everything was converted to (and encoded in) ACEScg on ingest, effectively before anyone used it. But I always had a hunch that this solution wasn’t “pure”— if the Academy had devised another linear colour space (ACES2065–1) for archival, it had to have a reason.