@Georges How the heck do you go from zero to wanting to know how to bake a look???!!??
I guess that is what happens with keen folks.
Key point as everyone wants to move onto their own looks and such, please pay close attention to what I am about to say...
All colour is based on assumptions. That is, when you load an image that is say, sRGB, you then make assumptions about the encoded values.
If however, one single assumption anywhere in the chain of operations is wrong, the entire chain becomes meaningless.
An example is the False Colour LUT. You cant just use that LUT with any set of transforms, and in fact, it is absolutely mandatory that you only use the correct LUTs at the correct point.
Why do I bring this up?
Because when you are making Looks, it is absolutely critical that you apply the values in the precise order. If you, for example, convert to the display referred domain and then apply an identical ASC CDL transformation, the result will be absolutely and entirely different to if you apply the CDL on the scene referred values. Same goes for two nodes with CDL; if you change the order of the CDLs you get radically different results.
So as everyone begins peeling apart the config.ocio, always remember the order and direction of all transforms is absolutely critical.
(This is also precisely why the original "film look" data is meaningless. What colours were the primaries for the data if it is a 3D LUT? What data format does it need to be in before the LUT? Was the LUT converted properly? Etc.)
@cegaton I have a question about frame rates. If you submit stock footage you can choose your own frame rate (23.98, 24, 25, 29.97, 30 fps are all accepted). And since the world is your market you cannot tell who your client will be or how you footage will be used. So what frame rate to use ? I am inclined to say 24 fps (cinematic look they say) but perhaps 30 fps is more practical (with USA still the biggest market). What would be your advice ?
As for your question, though ;-) If it was me (not knowing a whole lot) I'd be inclined to use the highest framerate you can reasonably manage. It can always be decreased by a client, but never increased. They'd have to deal with exposure and motion blur issues, but I suspect that'd be true regardless.
@troy_s let's say I'm still at the stage of falling down seeing shelves all around, but I already read the story, so I know I'm going to eat that mushroom later
Ultimately frame rates aren't always just a pick and go. Do you have existing footage? What is it? What aesthetic do you want because motion blur and staccato is bound to frame rate. Etc.
@OldMan So yes, if I am starting fresh, most certainly 24 / 23.98 for the 1/48th motion blur. In theory you can take that as high as 60 with a 360 shutter.
@OldMan 24fps or 23.976 (for America and Japan) or 25fps (for Europe) is a good bet. That framerate can be converted to 29.97 if needed, but it's harder to convert 29.97 footage to 24 cleanly. 30fps is a format that doesn't really exist in the real world, most of it is 29.976.
In a way, we're used to the cadence of 24/25fps only because there were so many years of film shot at that speed.
@mHurley the room can and will accommodate a range of subjects "pipelines" and "rendering" does encompass framerates...
@mHurley this room was started by @cegaton and at the beginning every subject was allowed. Later @troy_s started his now famous discussions and it became the Red Pill. But it seems it is still allowed to ask off topic questions ;)
my question about frame rate .... the question is this: If you would not know if your footage would be used in Europe or USA, if you would not know if it was played on a laptop or TV, but you would like to accommodate the broadest use ...what frame rate would you choose ?
@OldMan 24fps seems to be the most widely accepted... sort of imposed by the hollywood industry...
But you are right in the sense that most imagery plays on computers, tablets or cellphones... Most editing software nowadays can handle different frame rates anyway...
@OldMan if you are trying to sell to stock footage companies maybe you can get in touch with them and get an idea of what kind of content sells better...
The only issue I have so far experimenting with ASC-CDL is that it increased the noise a bit in the render results, is this normal, or it's just I'm not setting up the mesh lights the right
@OldMan film has traditionally used 24fs. For many reasons I will not detail here, when films where transfered to electronic media the effective framerate is 29.98 (aprox). Most digital cameras will shoot 29.98 Actually very few shoot real 24frames.
@OldMan the difference is so small between 23.98 and 24 that unless you are dealing with clips that are very long it will make no difference.
@OldMan sorry I meant "when transfered to electronic media the effectve framerate is 23.98"
I hate not being able to edit after 5 minutes!
In any case the division goes like this: For the most part assume 23.98. Unless you are dealing with elements for motion pictures projected on a theatre that would require real 24 frames... (but even that is relative nowadays)
about frame rate, I'm not 100% sure about this, since someone explained this to me long time, the reason why NTSC is actually 29.98 rather than 30, as far as I remember he said that it's because of artifacts appearing when filming using 30 fps in some high contrast or very thin edges in the movie, this was fixed by shooting 29.98 then projecting it using 30 fps, hence blurring the problematic frames, I guess the same reason is 24 fps films actually shot using 23.98 fps video cameras
But the final projection should be 24, or 25 or 30 fps depending on the system
@Georges it has to do with quite a few factors, all of them related with how analog color video technology works. for a simplified version read: en.wikipedia.org/wiki/NTSC
