I have an interesting Color Management situation that I'm trying to figure out the best workflow for.
We are creating a Times Square style jumbotron wall on some buildings. The plate photography is all in Arri Log-C. Most of the plates that will be placed into the giant TV screens are also in Log-C. Ultimately we'll want to be delivering a composited shot that is in Log-C so that it is within the same color space as the rest of the piece when it goes to Color Grade.
Is there some sort of a Color Management workflow that will allow me to tell Arnold in C4D that some textures are Log-C, while others are sRGB (like news logos and other graphical elements), and have the EXR Render itself be rendered as Log-C? That way it's in the same color space as the Plate when we're doing the compositing?
I know this is all much more complicated than it needs to be, and by having the Plates graded before the VFX it would solve a lot of these hurdles, but the Post company is wanting to iron out a consistent workflow for such projects as these so that the grade can always be done as the last step.
Any help or insight is greatly appreciated!
The usual practice is to convert the colorspace for all textures to a linear (or ACEScg) colourspace so the CG render is all in linear. Then the CG elements a recombined in compositing where the plates are also converted to linear, before final output back as LOG-C.
If you get an ocio config with logc in it you can use that with maketx or the Asset/Tx Manager in C4DtoA. For example, you can get the default OCIO configs from http://github.com/imageworks/OpenColorIO-Configs/zipball/master inside here is the nuke-default configs that contains AlexaV3LogC then add the flags
--colorconfig /path/to/nuke-default/config.ocio --colorconvert AlexaV3LogC Linear