When I save an image with a transmissive material on a transparent background in EXR format I get the correct results. When saving an image in EXR format at 32bits the alpha values are correct. The specular / reflective values are displayed correctly on the glass.

However when I change the image mode to 16bit in photoshop, or save my render as a png from Arnold then the alpha values appear to be incorrect.

I understand that when working with EXR's the image format is not meant to deviate throughout the pipeline. I also understand that a 16bit image cannot hold the same information as a 32bit image.

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I'm trying out a 32bit back-to-beauty compositing workflow and photoshop is saying my EXRs are in the RGB Built-in colourspace. Is this just a way of saying it's effectively no colour profile/ linear image?

Does any of this even matter if I've got an sRGB working space assigned in colour policies? Am I right in thinking that photoshop is translating the native profiles of the source imagery to the working space? As it happens the image looks identical in the 32bit and 8bit files.

As a side note, if you are rendering to EXR I would advise using a 16bit sRGB color space for post production, you will have more depth for your 3D elements and if you really need extra blacks/whites (zdepth for example) then keep this as a 32bit smart object.

Will back-to-beauty compositing work correctly with 16bit? My research seemed to suggest it would be slightly off, and photoshop opens them as 32bit anyway, although I suppose the EXRs themselves will be slightly smaller on disc.

you have very limited options working in 32bit mode in photoshop, nuke would be a better option if you want it 1:1. However I still prefer photoshop for its simplicity/layer workflow. That being said, working in a 16bit photoshop file will give you most of the flexibility you need (again you can just keep what you need in 32bit mode such as zdepth layers and light selects and have them as a smart object within the 16bit working file so you can readjust the blacks/whites when you need separately).

When you export your EXR you can export them as a Half Float (16bit/channel) and photoshop will read this as a 32bit file (and its a very compressed file, smaller than a png). Theres a huge amount of data to work with, you rarely ever need Full Floating (32bit/channel) EXR files, you can do a test for yourself and check the difference.

All this by the way has nothing to do with your 32bit file, just to clarify so I dont confuse you I was just suggesting working in a 16bit photoshop file so that you can composite your renders in a similar fashion that the VFB does in 3D.

I did a test with 16bit vs 32bit EXRs and you're right, that there's no perceivable difference, so that'll save me a lot of space over time. However when I try to comp the files in a 16bit PSD the result is definitely off. Not sure if this is what you were suggesting, but it would have given me the flexibility of 16bit (specifically magic wand for selecting masks). As far as I know there is no colour keying in photoshop, but then it's not really true compositing software. Yes, Nuke would be a better option, and I do want to find an alternative eventually, but then you're going to lose the more painterly retouching tools (AFAIK). Would have been nice to keep it in one programme. I did try comping in AE but found it a bit clunky, and I don't think you could insert this in a PSD as a smart object anyway, so it'd add another stage of import/export.

That makes sense about Prophoto. I realised I'm using the cloud-based one rather than classic, so I think my export options are limited, but probably makes sense to to any convertion in photoshop as I'll sometimes want to use photos in the 32bit comp.

I hear Affinity does a good job - especially for 32bit EXRs and keeps a similar pipeline to Photoshop. There is plenty of workarounds in Photoshop working in 16bit but I would have to have a better understanding of exactly what you are trying to achieve step by step. Im curious as to why you are doing a back-to-beauty & then doing post work on top? If you can show the reason behind the method there may be a better solution - could you instead render the final and do the painterly retouching on top (adding/removing refraction/reflection/lighting passes etc where needed)?

I'm not 100% percent that it's totally necessary, but it seems like a quick and manageable way of getting the result I'm after. Basically everything in or on the building goes in the 32bit PSD, everything outside goes in the 8bit PSD. I'm rendering out a simple model with virtually no interior features - just wall, and just reflections of the HDRI in the windows, then adding photographic elements on top of these, masked to the approriate areas and adjusted with an exposure layer for strength. It seems to work well for getting the balance right between reflection / refraction without blowing anything out.

That's not what I'm doing, in the first image you're seeing Refr. + Refl. +G.I + Lighting + Spec; in the second one you're seeing just the Beauty pass (in normal mode in photoshop - no additions) Which is what I see in the VFB and what I want to achieve. 32bit PSD gives this result. 589ccfa754

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