Tim Soret

The Kojima GQ interview is touching &amp; heartbreaking. This is why I fight relentlessly for our independence as a studio, no matter how long &amp; arduous this path is.
https://www.gq-magazine.co.uk/article/hideo-kojima-interview 

If I play my cards well and The Last Night turns out to be successful, I will enter my 40s leading a world-class independent studio, with incredible skills built along the way, and the ability to fund our own projects with our own profits.

This is worth the pain.

I turned down millions to protect our IP.
Millions. That's the sacrifice.

We wouldn't own our own work, the original &amp; personal expression of our guts, the results of a decade of research, thinking, writing, design, architecturing, programming, drawing, animating, lighting.

I intend to make those who believed in us &amp; funded us until the end really rich. But I will never let our IPs go, losing our creative independence.

It's time for a new era of creator-led studios, the only way to make this industry healthier, for both players &amp; developers. 

@timsoret After seeing what happened at ZA/UM post Disco Elysium, always hold onto your IP

I've been obsessed about linear rendering for 20 years. I was pioneering 32 bits linear workflow in After Effects since it arrived in 2006.

I study old movies shot by shot to see how neon &amp; signage looks on film, as there is no digital clipping.

Clipping is not desirable.

Here are several exposures I took in Hong Kong in 2015 with my old Canon 5D Mark I (2005). 

It shows the problem of narrow dynamic range: I can't protect the saturated highlights without underexposing the whole frame.

Compressing HDR into SDR isn't a trivial.

Clipping, rolloff, hue shifitng, there is no perfect solution, only compromises.

CG, games, cinema &amp; photography, all have different solutions to the problem, &amp; different jargon.

Hollywood struggles with this since going digital.

Many "who cares" reactions.  Well, pros care.

I'd suggest this incredible paper on tone mapping to clear misconceptions.



It's accessible, and explains the long history of tone mapping, from oil paintings, to CRTs, to OLED. Maybe I should do a thread.