Hi! I go by Zak. I'm a 3D artist and photographer working in Los Angeles. I mostly use Cinema 4D with Redshift. I'll be sharing some tutorials and quick tips on here from time to time.
if your open EXR is already ACES CG, you can technicly apply an IDT (input device transform) without using ACES Transform node, because this way you are restrain to RGB or other color space like Rec 709 or P3 depend of your choose, you must also apply HDR to your node to having acces to those extra 16 bit or 32 Bit dynamic range that the open EXR deliver, it work also with regular LINEAR wide RGB color space... usually i use ACES CG for compositing element or texture on my 3D model, but if the render engine use a true PBR lighting or spectral lightning it's almost like shooting on a real RAW camera or Linear wide RGB RAW file, so ACES 2065 over ACES CG texture should work.
There's a great Rocket Lasso plugin called Ricochet that I used to fill the empty folded box with splines. I'm rendering the spline using Redshift's Strands setting so it's basically a thick bundle of hairs.
@@igobyzak Thanks for the reply. That's basically the progress i had in my mind but so far i didnt find a (performant) approach to do it. I'll check out ricochet :) I already know this PI.
Amazing tutorial thank you! I don't suppose you know if it's possible to add a coloured gradient to the fog that goes in a specific UV direction eg left to right or up to down as opposed to from the inside out?
Firstly, thank you for sharing this valuable learning resource; it's a treasure for beginners! I'm considering using this in animation, but I'm unsure how the light interactions and object and camera movements may differ. I suspect the workflow would change considerably. Could you perhaps create a tutorial on this? Or do you have other resources you'd recommend? Thank you once again for sharing, and I appreciate any advice on this topic in advance!
This is probably the hardest tutorial I've ever tried to follow along with. beginner warning - def intermediate to advanced. I couldn't even get the sweep to create the same volume as in the video.
coming back with another question- when you set to save as jpg it applies the view transforms automatically. But if I try to export as jpg an image already rendered in the picture viewer, it doesn't apply the view transform. Any idea how to fix this? Thank you!
There was a bug in Cinema that prevented the view transform from being applied to jpg images saved from the picture viewer, but I thought it had been fixed. What version of Cinema are you using?
Thing is: When dong all the ACES workflow in the end my exported video look exactly like in Ae when looking at in VLC Player. Nice. BUT: as soon as i send it to my iPhone it differs significantly. And when looking at the same file on my iPad it's a new 3rd look i get. (btw whe i use sidecar to use iPad as second monitor the video also differs again. It near the Ae look, but not exactly same.). Can someone confirm?
I've noticed that dealing with imported textures, for instance some artwork for a product rendering, Aces color profile fuck up your image turning it dark and dull. That's pretty bad in my opinion. Color conversions should be more accurate.
Yeah it's a common issue with brand accurate colors being changed by the tone mapping that's happening when going from high dynamic range ACEScg to low dynamic range sRGB. It isn't really an oversight or a lack of accuracy, it's just a situation where you can't have it all. It's either you tonemap and colors and intensity of the original "brand" colors change or you don't tonemap. Can't have both unfortunately.
@@igobyzakI've realized that applying an inverted color profile works in those situations, but it's a good idea to reduce the highlights to prevent them from blowing out in your renders. I think a lot of people still don't know how to deal with this new color management and we find a lot of distorted information.
If you're doing any color or exposure corrections, like offset, gamma, gain, or any of the other knobs I reccommend adding 2 more color space transform nodes, where you go from whatever color space and gamma you're in (for example SRGB with SRGB) to 'Davinci Wide Gamut' and 'Davinci Intermediate' for the gamma. Then placing any and all corrections after that first Color space transform, then a second Color Space transform with the exact opposite settings, going from Davinci Wide Gamut and Davinci Intermediate back to SRGB. It's an even larger color space than ACES and way more forgiving making color corrections and helps prevent clipping more than just applying color corrections in SRGB or ACES color space
You can add color space transforms and go into Davinci Wide Gamut and Davinci Intermediate, there would be nothing wrong with doing that, but there is no benefit in doing this. Just transforming into a wider color gamut does not increase the colors in our footage or renders. And because, currently, there are no display color spaces that can display all the colors in either ACEScg or Davinci Wide Gamut (humans can't even see all the colors in these wide gamuts) the colors are still limited by our output display space. So taking an ACEScg render, converting it into Davinci Wide Gamut, cranking up the saturation, would not give you any benefit because you still have to output to some display space. sRGB colors are only as saturated as sRGB colors. And P3 can only be as saturated as P3 colors allow. As far as clipping goes, you really shouldn't be clipping colors in either Davinci Wide Gamut or ACES; that's going to cause problems when it's time to export. We have gamut mapping and parametric gamut mapping with ACES transform nodes so we can adjust the way the colors are being "pulled in" from clipping. Again, no real benefit to using Davinci gamut and gamma. Also, because I'm using ACEScct for the color correcting, which is a log gamma curve, a lot like Davinci Intermediate, there's really no benefit do doing what you're saying in terms of the way the tools on the color page react. It's not as though we're trying to color grade in Linear gamma, which would be much less intuitive. The only reason I can think of transforming into Davinci Wide Gamut and Davinci Intermediate is to use a specific LUT that was designed to work in Davinci Wide Gamut instead of ACEScct. The LUT wouldn't be exactly the same, but it could be fine to use it this way.
hi, great tutorial but I am struggling with the Deliver tab - I keep getting the same issue - Render Job failed as the current clip could not be processed - Failed to decode the video frame. - not sure what setting needs to change - if I export single frame in MP4 r EXR it works fine but the only waty to export stills atm is through screen grab.
Not sure what the reason is for this. You can try setting the render speed in the deliver tab to something much lower than the default "Maximum" setting. Also, from the Color tab, you can add stills to the Gallery then export stills from the Gallery.
I'm not a Davinci user myself, sometimes I'm leaning towards learning an node based compositor, but what are the lets say extreme benefits you get from working with for example Fusion vs AE for similar work as the tutorial?
Much more robust tools in Fusion and especially Nuke compared to AE. The ability to use World Position Pass is huge. No such workflow for that in AE as far as I know. Plus the color grading tools in AE don't even come close to what Resolve offers.
Because it's being tonemapped by the ACES Transform. Actual white in this scenario is reserved for glowing objects or very bright specular highlights, values above 1. It would be like a sheet of paper compared to an LED panel...the paper next to the LED panel would be closer to a light gray compared to the white of the LED light.
@@igobyzak Hey Zak I have a quick question, what do you do about LUTs? Do you just bake them into the image via Redshift then export? Or Do you have a workflow in Davinci?
@@loganpenciu7317 I love a good film emulation LUT! But I never bake them into the image via Redshift. That would clamp the high dynamic range and I don't want that. I apply my LUTs in Davinci Resolve. But it's important to know the LUTs you're using. Like what color space are they expecting as input, and what color space are they spitting back out. The LUTs I use are made for ACEScct , and return ACEScct gamma. So I just plug these into my node graph at the timeline level before my final ACES transform from ACEScct to sRGB.
@@igobyzak Thank you for the response! That makes sense. Can you point me in the direction of getting ACEScct LUTs? Or do you just convert them yourself?
Thanks so much! Yeah I think it can add some nice spatial and color variations. Real light is really complex so the more ways we can grunge up our 3D lighting the better.
Such a great tutorial. I'm working with Octane in Blender using an ACES workflow and have been looking for information precisely like this on how to combine passes and edit them in Resolve. Thanks!
Such a great video. Visual explanation of what are "lift, gamma, gain, offset" is the best that I've seen. And this tip on how to "clip" grey whites to actual whites at 1:10:27 is super useful.
Thanks a lot! but when i use project settings method the acestransformnode looks very dark in fusion part .Can't this method be used in the fusion part?
It depends on what you're trying to achieve. You can use an Aces transform node in fusion, but what are you transforming to and why? Are you transforming to sRGB and exporting from Fusion? If so, that should work just fine. But if you're transforming to sRGB then going to the color tab for corrections then exporting through the deliver tab you may be applying incorrect transforms or applying double transforms. Hard to say without more details.
@@igobyzak Thank you for your reply.Using Aces transform node alone it works very well both in color tab and fusion tab like in your video. After setting color management in project settings, I connected an Aces transform node from ACEScct to sRGB in the color tab and it works fine too. Then I go to the fusion tab, connect a same setting Aces transform node after the MediaOut node, the color became very dark in the fusion viewport.Did I do something wrong?
