Here is a quick look at how to correctly manage your colourspace in PFTrack. This is important as if your exporting out of PFTrack to setup your layout scene, then the lighting team are using that camera/image plane to match their lighting, it needs to be in the correct colourspace otherwise the lighting wont match in comp after its rendered. Here are my steps when tracking to ensure its correct:
Step 01, load in your image sequence and make an image manipulation node right after it. Click on the P* button (circled) to bring up the tool where you can then load in a LUT file in many different flavors. For this show I’m using a Red Log to sRGB ‘.3dl’ LUT. This then matches what comp are seeing, with their input colourspace with sRGB viewer LUT (if we are talking with Nuke).
Step 02, now that’s loaded click ‘colour’ and then ‘use display lut’ this will then bake the colour information into the plate for when we export out at the end.
Step 03, now export out as normal to get your undistorted plates and your camera scene.
That’s it really, when you now bring your camera scene into a 3d package you should be setup in the correct colourspace and lighting will match perfectly in comp!
If your using the latest version of PFTrack and are exporting out UV maps for handling distortion, then you’ll probably find it writes out an image sequence of UV maps, this is because if there is a zoom then you get dynamic distortion that changes on a frame by frame basis. Generally thats not the case so really you only want 1 frame of the UV maps to use in comp. So after you’ve exported everything above plug your output into an ‘Optical Flow’ node, change the render mode to ‘Nearest frame’ and set the frame count to 1. Plug this back into your Export node and write out your UV maps. This will then give you single frames.
*If you cant see the P button then go to the top right menu button and click on ‘customize interface > lut controls’.