I mean HDR tone compressor responses for different camera types.
You are confusing tonemappers with response curves. These are two different things, although in photography world, response & tone curve are interchangeable names. (in film, camera "responded" to light logarithmically, so hence the name "response", today chips capture linearly, so tonal curve is added to adjust tonality, hence "tone" curve, but it's the very same thing).
In CGI, tonemapper (nothing to do with tone curves above) only compresses highlights, it doesn't do anything else, it doesn't adjust contrast or colors. Neither do modern CMOS in digital cameras. They capture files linearly, add gamma 2.2 curve and then regular S-curve to mimic filmic behavior from times where film captured in Log.
F-Storm, Arion, Octane, all have some form of Reinhard. Even Reinhard and Filmic is basically the same, just how the curve (it's S-curve in logaritmic space) looks is done differently. Currently F-Storm has the nicest tonemapper, it's slightly crispier Reinhard, it doesn't wash out blacks, but the shoulder (highlight clipping) is similar to low Reinhard in Corona (it' something like 1.5-2.0 HC maximally)
The "response/tone curves" they additioanlly provide, stuff like Afgacolor_Futura_400 are film emulation curves. They don't compress tones from HDR to LDR. They are literally only curves, in LOG or gamma space depending on usage (film grading or general CGI), you could make them using curves in Photoshop by yourself if you wanted, there is no other magic there.
And you can use them as LUT currently in Corona. It gives the same behaviour as in Arion, Octane, F-Storm,etc.
Yes, I also would want better tonemapper, Corona Reinhard is really ugly and bland. And filmic is just weird somehow most of the time for some reason. But you totally can use camera response curves with LUT.
You can do what I do. Use low HC in Reinhard (like very low 1.75 for example), this preserves linear mid-section correctly, keeps good saturation and doesn't destroy blacks...completely. Then I use a little bit of filmic shadows for crisp blacks. And last, I use LUT to grade the overall tonality.
