So far, it only attracts certain colour enthusiasts ;) Hopefully AgX gains traction as it gets included in the default Blender config. I'm hoping to see some videos on this topic from you! (As your video on Filmic was one of the things that helped me switch)
amazing tutorial! I think its worth mentioning that if you dont see the AgX DCTL in the dropdown menu at 6:35, restarting resolve should make it appear.
Hearing recently that AGX is replacing Filmic as the default in Blender, this video did reassure me that I will continue to be able to use Blender and Resolve as a combo as Blender releases v4.0
Nothing really changes structure wise. It's just a better 'filmic'. Whatever you did with filmic will work with AgX. Instead of selecting filmic, you will select AgX, in whatever software you're using :)
Excellent, thank you very much for this information and tutorial, there is very little material about this topic and it is more than welcome to find information!, really thank you very much!
Hey thank you for your video and for your explainations. One question though, did you manage to get the exact same look between Blender and Resolve ? Because i didn't. I export my image in EXR from Blender so it's stay linear, then i make all the color transform process in Resolve (CST + DCTL) and then export a single frame in TIFF and compare with the same frame from Blender exported also in TIFF with Agx burned in (without any look applied). But unfortunately my images don't match, there is a clear shift between them. Have you experienced the same thing or your images are perfectly matching ? Thanks in advance for your answer, and again thanks for your video.
It might be really difficult to completely match the result you get in Blender with the DCTL in Resolve. It is possible, but it requires a bit of work. The standard AgX have no twist on the hue flights (so set them to 0 in the DCTL). If you want a 1:1 match, you're better off using the Fusion OCIO node. Hope this helps!
Hi Gus. Thank you for the great tutorials! I have some questions if you can help: 1) On Resolve, using the DCTL workflow, what would you say is the best option for the Timeline Color Space in Project Settings? I noticed that you have it set to Rec 709, but wouldn't make sense to use ARRI LogC3 or even Davinci WG/Intermediate? 2) To make sure: Pre-Formation happens after the first CST (Linear to ARRI LogC3) and Post-Formation after the 2nd CST (ARRI LogC3 to Agx), right? 2.1) Which grading processes do you tend to do more in Pre-Formation vs Post-Formation? 3) To add Dehancer to the mix (using the DCTL workflow) I just need to add the Dehancer node after Agx, set it's source mode to Rec 709, and that's it? Or should I change anything on the Agx workflow considering Dehancer will be added in the end?
Hello! Not sure if youtube comments is the best place for such in-depth discussions, but I can try to summarise as best as I can: 1. Timeline colour space, to my understanding, is a convenience option. It can be set to anything as long as you do colour transforms correctly. Most of my footage is rec709, that's what I set the timeline to. But I think it works like a 'working space'? So DaVinci Intermediate might be best. Not sure here. 2. It's easier to think about 'the point of formation', where your linear/log/whatever footage becomes a picture (that you can show to others). With your given examples, pre-formation would be linear and log, intermediate would be log and then formation happens at AgX. Post-formation - everything post AgX. 2.1 you will find that you will need to use both. Some processes *must* happen pre-formation, some post. 3. Uff, I would personally go the way you said, but I think it's 'better' to make AgX output log CST to change that to whatever log Dehancer takes as input, and do the dehancing on that.
@@StudioPetrikas Yeah 😅 sorry. I've been trying to get my head around all this stuff for a while and I really liked your videos. Thanks for the feedback!
thanks highly appreciate this, it seems to work, but i feel the blender footage is just very flat now with this workflow. can you share about your export settings. In blender my colormanagement is set to AGX and the look is set to none. I work with EXR files.
Are you sure you EXRs are linear and don't have AgX already applied? What you see in Blender, should match what you see in Resolve, pretty much exactly.
@@notimportantstudio I'm not 100% sure, but when you save your EXR in blender, in the save dialog where you choose your filename, etc, colour management settings should be set to "override" and set to Linear BT.709.
@@notimportantstudio Just checked, I'm getting pretty much an identical match. Correct that override has no effect. That was something off the top of my head. Care to upload screenshots somewhere? Of the result in Blender and Resolve?
Do you know what can be done to just fix color issues without affecting contrast ? I've tried to use it but every time it looks like log footage even after EOTF 2.2 conversion ?
@@StudioPetrikas its super simple it's just iPhone footage CST rec709 rec709-A to arri log c3 and next is agx node. In your previous video in olive you've added agx to your footage color and contrast changed very subtly compering to standard rec 709 conversion
I want a way to convert AGX log rendering to an ACES CG or ACES 2065 since i use only ACES CG as as a texture feed for any of my 3D object it help me keeping consistent color accross Real camera shoot mix with my CGI , AGX are great as stand alone rendering but can't be use as a camera color converter, ACES in other hand share the same color Space accross input this thing can blend 8 bit color source with Log 16 bit or even linear 16 and 32 but it blend everything in the same color grade Space and export in many other from rec 709 , P3 DCI or Hdr dolby vision and regular HDR.
