Hi,
Micahhesse wrote:I've got a wide gamut (143% sRGB) monitor and decided to get it calibrated recently (using the calibrite ColorChecker pro) which worked great.
While I have no intention to initiate a debate/s$!tstorm, consumers and semi-professional monitors are not truthfully and correctly specifying the technical specifications, thus, are to take with a pinch of salt.
Not to mention that hardware-calibration is truly a job on its own (or a secondary capability for some digital motion-picture professional colorists). Mostly worth it on reference-grade monitors.
Micahhesse wrote:
So in effect, the live viewer shows a much more saturated (typical wide gamut monitor over-saturation of sRGB content)
Rather typically from mismatched color specifications between the produced images and monitor. A proper setup with varying output specifications should yield a virtually identical result.
Micahhesse wrote:
> Are people working in c4d/octane, and then just accepting that renders will appear different once they are compositing in a color-managed application (in my case, the renders in AE look very desaturated, which is a bummer after I thought I had dialled in the render) Of course I can color correct, but still very annoying to be color correcting, not to improve the render, but to try to get back the look dialled-in in the live viewer already.
An other truth is that whatever a skilled and knowledgeable technician will do, even with the highest hardware/software budget, the content will end up being incongruously consumed on divergent display/output device technologies. It's not that big of a deal since it's that badly broken worldwide, as long as the 3D image maker's responsibility to appropriately produce the content have been respected. That's the least one could do. With EXR as the output file formats, remasters can be safely done in post (within the limit of an encoded output file format, aka as opposed to re-render parts such as modeling, shading, lighting and so on, which are modifiable in post in some limited ways, via AOVs/LPEs and advanced compositing).
It is highly analogous to the audio domain (music or post-production entertainment). I'm in both and seen it with my own eyes and ears. In fact, similar techniques can be used from one domain to an other. Mixing with varying speakers, ranging from consumer to professional is analogous to checking the produced imagery on various displays (phones, tablets, TVs, etc). Needless to mention that one has to consider the respective technical specifications of all the used display devices.
