I wonder how the tone mapper is handling out of gamut colours. The super bright orange, if out of gamut can either be clipped, or it can he darkened, desaturated or a mix of both. Depending on your choice of colour space to do the desaturation in, you get different effects, some can have a large hue shift like is seen here.
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Out of gamut colors have their chroma compressed at constant hue and luminance. No hue shift, nor darkening.
On the next nightly, you will be able to see live the effect by clicking the soft-proof button with its setting on sRGB.
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Ma contribution avec Filmique V8
je ne suis pas encore pleinement satisfait de mon travail au niveau du dégradé vers le soleil.
Avec AGX, le décalage des primaires à t-il pour objectif de prendre en compte la notion de “The notorious six hues” ?
My contribution with Filmique V8
I am not yet fully satisfied with my work on the gradient towards the sun.
With AGX, is the aim of shifting the primaries to take into account the notion of “The notorious six hues”?
IMG_3129_03.CR2.xmp (10.7 KB)
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This is quite smooth.
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I agree that Mr Pierre is very rude, but worse : in his mind he is always right, hiding this supremacist sentiment under a sea of pseudo-scientific links and thinking. In my opinion, it is a good think that he is out of DT, as he just cannot work in a team.
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I downloaded Ansel and I think @Jose_Figueres is likely a much better technician than me and has more experience with Ansel so what he offered up should reflect what agx will offer on an edit but within Ansel to my eyes I got a more pleasing result simply using v5 color and no preservation and one or two small tweaks than I could get using the new V8 agx and it was in the ballpark for sure of some of those offered here by others so I guess I need to read the new docs before experimenting further to see what I am missing… I have always maintained that v5 filmic was the most versatile and flexible esp when it comes to sunsets… You can make them as red yellow or orange as you like… …
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Hey there, good luck with maintaining Ansel.
Can you compare and contrast filmic v8 vs AgX for us? How are we supposed to think about it? Exact same thing, different UX/controls? Does it differ in its approach to AgX at all? If so, how? What do you think it offers on top of AgX, if anything?
AP just updated his documentation for it about an hour ago…
Edit…
Better link
Manual also updated…
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And again some rant about Darktable. He cannot refrain, such a bad person he is !
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This is all getting a bit much.
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Well that dev document was still a rant but by his own standards quite toned down (yes he still has negative things to say about DT) esp from his video…but on the upside I dont think he swore or directly called anyone an idiot 
the purpose of his fork was always to take DT in a direction that more suited his vision… So he is always going to highlight why he believes his vision to be an improvement/superior
For filmic users in DT his updated documentation is still a good read and he talks openly about v6 and v7 and some behaviour and limitations and he provides some tips for using them in certain situations…
In his summary paragraph perhaps he does it best, summarizing it or framing it as a “philosophical” difference of how he views editing and how he is evolving his tools and workflow with Ansel…
Quoted paragraph:
The workflow difference is philosophical: AgX invites you to fix color inside the tone mapper, at the end of the pipeline, with controls that cannot be masked and whose interactions are opaque. Ansel’s approach is divide and conquer – calibrate color first (color calibration ), grade it (color balance , split-toning , color equalizer , color primaries ), then let filmic do one job: compress the dynamic range, with the v8 color science reproducing the per-channel rendering AgX is known for, minus its hard-coded look. The same results are reachable step by step, and each step is inspectable, maskable and reversible on its own.
I could see people that would think like this in terms of an editing workflow so time will tell…he is sharing the software and code and he documents things in detail and all that might be something that appeals to a demographic
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Aaaannnd one more conversation that drifts again into a discussion of AP’s behavior …
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Aaaaannd one more blog/video that drifts again into a rant about how bad darktable is…
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I find it surprising. Ansel is a nice tool, respectable in its own way. Not my piece of cake, but still - for my personal taste, that is - better than most (good genes, one could say). Yet, all the effort spent to bash darktable at every opportunity has the only effect of reinforcing in the readers the idea that Ansel is just a fork of darktable, from which it is failing to emancipate.
A bit like the Dave Mustaine saga with Metallica. The dude kept (maybe still does, not following his rants anymore) trying very hard to differentiate Megadeth from Metallica, drawing people to a comparison that, otherwise, they would not draw or think about. Both bands were (I use the past tense with purpose) great, but in different ways, and already after one record they made completely different music, to a point that any attempt to compare them was just… silly.
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dt lives rent free in his mind. He sleeps and dreams of dt. The obsession is hilarious.
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Fact is that AP is lying, period. And I fed up seeing people rewriting history. AP is not a victim, right! But the instigator of a war against Dt users and devs. There was no issue with Filmic as he said in the doc. I’m Dt maintainer and talked with AP at the time and the fork was done for a very good part because I did allow Sigmoid to be merged and he was against for whatever reasons. And the way he said so was just insult as always.
I don’t have issue with Ansel, just I’d like the project to move forward and stop this stupid war and insults.
@Jiyone : Since you seem to be able to talk to and work with AP maybe you can at least understand this and try to have Ansel & AP find peace.
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This is not about a behavior, it is about the formal documentation of the new Ansel filmic V8 feature.
Muting the shit out of this thread.
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Thanks for the heads up! The section regarding the new (to a dt user) ‘perceptual’ hardness setting (vs Hard/Soft/Safe) was quite interesting. It is nice to think I was noticing a legitimate difference.
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