But there is a problem: One can only go FROM Filmic TO other spaces like sRGB, not the other way around. Blender now takes these meaningless values, determines their meaning (color space), and should ideally now use this knowledge to transform the data into the Filmic color space.
Your camera spits out meaningless RGB values too, which are given meaning by the camera manufacturer, which we can recover by examining the “transfer function”, “white point”, and primaries (objective color values) of the color space that the footage is stored in (sometimes found in the metadata of a video file). They are just data, designed under the assumption that they would be transformed eg. These meaningless 0…inf values, created under the assumption that they would be transformed (given meaning) later by Filmic, now enter the compositor after rendering. Filmic uses the same four definitions as the very common sRGB standard. These values are of course RGB values, which are given meaning only because you’ve designed your scene whilst viewing it through the lens of a transformation (Filmic, again) that defines “white”, “red”, “green”, and “blue” as very particular objective colors, as defined by experiments done in 1931. Filmic uses a huge range of values, which is close to the range of light intensities we can see with out human eyes. 
Cycles spits out meaningless 0…inf values, which are given meaning only because you’ve designed your scene whilst viewing it through the lens of a transformation (Filmic) that picks out some range 0…n, which go through a “transfer function” to become (almost) viewable intensity values between 0…1.Here’s what is approximately happening pipeline-wise to screw up your scene (it’s complicated): I’m sure there are inaccuracies here I’d appreciate if anyone actually reading it (lol) points them out to me so I can correct my understandingįilmic is not, in my understanding, designed to be integrated with live-action footage.
Welcome to color management! Everything sucks.
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