Hey @gray,
we discussed these terms in this thread. There is some very good info from Cinematic Color 2 and Wikipedia if you hadn´t a look already.
I agree on these two points (thanks for writing them so clearly !) :
- There’s nothing preventing someone from making the same choice (than Monet) even with a DRT that does use a ‘path to white’.
- Something that I think has been a little bit looked over as of yet has been the casual nature by which we’ve evaluated the proposed methods…
I know that Daniele has suggested several times that the Academy could shoot a little scene (with like several iconic objects in it such as Macbeth chart…) and evaluate the scene and its display rendering at the “same time”. I cannot think of a better method to be honest. I have shared many CG examples to evaluate the DRT but yeah, that does not make it an “objective” test neither. Even if with CG we remove any “secret sauce” or clipping from a “real” camera ?
The “path-to-maximal-brightness” seems like such a fundamental mechanics when it comes to “tonality” :
If you keep the chroma yeah you don´t see the tonality of it anymore. If you can’t tell light from dark anymore, the image doesn’t look as natural anymore, right?
This is an interesting quote from Mathias in the last VWG meeting. I was pretty pleased to hear it since it directly connects with the “loss of tonality” that a few folks have been describing on this forum. I thought it was worth pointing it out.
Chris