Since there is a deadline for the development now, I’m worried even more, that this artifact will stay in the final version. As a user, I can somewhat (per-channel) deal with the tone scale, yet it seems to take a lot more development time than, for example, this artifact, that, in my opinion, is way more important for the end users. Because users can’t fix this by themselves. With old per-channel tone mapping users at least know what to do when the sky has different hue in HDR vs SDR. But now it’s like solving the issue that we can solve on our end, but adding a new one, that we can nothing to do to fix.
I guess this isn’t going to be the final final version forever. So maybe, until the very wide gamut and bright displays become a thing, we could use something that is not so future-proof parametric, but instead just a simple DRT, that, what’s most important, looks smooth with various gradients?
I’d even be happy with per-channel approach, maybe with some out of the box hue fixes for HDR vs SDR outputs.
I know that a lot of users want ACES 2 DRT to be hue preserving for HDR vs SDR. But I’m sure survey results would be different if the question was to choose one:
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It preserves hue for different brightness and it’s parametric in case of the new technologies that are not here yet, but you can’t use it with defocused LEDs and maybe even with defocused stained glass in the image.
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It is not hue preserving, but we ship it with the tweaks for HDR vs SDR, that kind of help you with this. Also it doesn’t preserve out-of-working-gamut colors well, just clips it (as any DRT LUT you always use and love). But you can easily and intuitively reach the corners and the gradients will stay smooth whatever you do.