Why are you grading after the output transform? That returns you to the 709 color space to work u aren’t using ACES at all. If u want to grade in ACES you have to do all those changes in the middle of those nodes or directly change all the color management which is actually better if you want to work always in ACES from the start and in that you will make you’re footage usable for the future (if you record Log or RAW or HDR color spaces and deliver in SDR at the moment)
Mathematically speaking, offset adjustments can accurately change white balance and exposure in ACEScc, but not in ACEScct because the ACEScct curve has a toe where the curve becomes a linear function rather than a Log function. This only makes a difference in like the bottom few code values, but you'll find that if you add a stop of exposure in ACEScct using an offset control, you'll be lifting your blacks very slightly. You can try it: make a linear black-to-white gradient in Resolve, then apply an ACES Transform from ACES to ACEScct, an offset exposure/wb adjustment, and an ACES Transform from ACEScct to ACES. What you'd want is for those three nodes to be equivalent to a Gain control, but it's a little bit off in the blacks, and this doesn't happen with ACEScc.
Yes thancs for the exelent observations and knowledge you bring to the table. That's very true and you can even see it in the exposure example. The shadows are a bit milky, but this was quite a drastic push up, and it's easy to fix with a bit of contrast curve tweaking. And anyway... I recommend exposing to the rigth and in post pushing your exposure down. :) The cct is still better than cc, because in some scenes with high dynamic range, conversion to cc causes "negative values" (or someting) creating major noise and blocking in deep shadows. So the toe in cct is a safe guard for that.
@@JooWorks Excellent point, cct does compress the shadows slightly and it therefore avoids certain characteristics. If you're handling conversions from ACEScc to other color spaces with a LUT, you're absolutely right that having negative values in cc is going to be a problem because those values are going to get clipped. In theory, if you're using ACES Transform nodes, that shouldn't be quite as much of an issue and it's just up to preference if you prefer cc or cct (though everyone seems to prefer cct). It's an interesting topic for sure, and I'll have to play with cct more to see what I think of it. Thanks for making the video btw!
Thanks for the exelenc understand about the topic. It's so much fun to have someone who talks the same language. Pleace comment more to future videos as well :D
@@timovepsalainen4927 well I guess if you're using this "aces lite" workflow it should be easy to lift the shadows after the rec709 conversion too. It seemed to me that the intent in this pipeline is to put photometrically accurate operations prior to the rec709 transform and to put other creative adjustments (like lifting the blacks) afterwards
Ive been a Premiere Pro editor for 4 years now and always wanted to switch over to Davinci, dude thank you! I just signed up for Aces Lite! See you on the other side.
Btw this allows me to take test footage, color correct and grade it, export it as a LUT and use it for all future scenes I want it to look the same, cool!
@jooworks how does the HLGtoAces conversion and AcestoRec709 presets interact with colourspace override in Premiere? If I have HLG3 Footage, shall I interpret it to 709 before using the conversion and then set the sequencve to 709, or shall I leave the Foootage at 2100? :) The 2020 vs 2100 thing has me a bit confused anyways because in cam it is set to 2020, but premiere automatically detects it as 2100. Would appreciate an answer ;) Thanks already
I just bought the course and I’m really happy .. I never find something like that in internet thank you so much for teaching so well … Totally recommend I hope you get so much more subscribers you deserve it all!!
You can either use resolve's inbuilt crm or you can run your own crm on the nodes. When using the nodes, you don't need to do anything on the settings.
You will find setting the gain down on a node to make better adjustments on your white balance destroys the Aces/Linear algorithm & doesn’t do a good job. I would avoid it. But hey, if your happy then all good.
Thank you so much for the info. Very helpful. All the way from Maldives. Btw may i ask - are you resetting the node at 3:05. (Mouse moves out of view hahaha!)
ACEScct has a flat exposure response curve, you can modify it with offset wheel, but rec709 has a non-standardised s-curve shape, that there is no tools to modify it accuratelly. When the response cureve is flat changes in the RGB channel happen uniformly to low, mid and high tones, but in rec709 or in other curves the steepness changes the degree of change. The new HDR wheels can modify different curves white balance too, but only if your curve is standardised, unlike rec709.
@@JooWorks Thank you for your very fast and informativ reply. Is it actually possible to Transform my Raw Footage with Aces into Cineon Log?. I want to create some filmic look with kodak emulation. And i saw a few people who converted there raw footage into cineon log to get better results with the Kodak Emulations.
I'm confused. Why is the Aces transform tool not well suited for mirrorless cameras? And is the Color Management tool better? In the last few steps, you applied an Alexa LogC Lut. But why not skip the ACES conversion altogether, and just convert from the GH5 v-log to Alexa Log C and then apply a 709 Lut after?
You can develop the Braw directly into ACEScct and use the workflow like that. And I should have inputs for prores users... If not, ask and I'll add them
This is GEM! Thanks very much. I have a sigma FP and shooting Cinema DNG. Could you please tell me how to use this workflow with Cinema DNG? Is there anny difference? Thanks in advance!
@@JooWorks So Basically, i have the following. Decode using: Cinema DNG Default, Camera metadata, Project, Clip, and within Clip i have, colorspace : REC 709, P3D60 and Blackmagic design, and Gamma: Rec709, sRGB, Linear. Thank You in advance.
Hi Joo All that sounds pretty interesting, but I have two questions concerning Aces light. 1. Do you see it also as an useful alternative to Nitrate film convert? 2. Does your list of different camera types and models also include the Sony HRX - NX 80? Thank you in advance.
Film convert seems good. I haven't yet gotten the tool. It's doing a similar job to the LUT kit, but aces lite is a full course. So you don't only get the tools, but the know how as well. Sony hrx nx 80? I haven't done LUTs for that, but maybe I can get my hands on it somehow? But can't promise that to happen soon. What profiles does it shoot? You can use other Sony Input Luts if there is similar profiles...
@@JooWorks Thanks for your quck respond . The NX 80 is the middle class of 3 similar Sony camcorders, which shoot in HLG 1 - 3 , S log 1 - 3 and other profiles that can be found at several other Sony cameras as well .
@@ephodvideos1710 then it should work well. You can try what s-log or hlg profile of other cameras gives you a good result and use that. If you are not happy, I'll refund. No questions asked. :)
Hi jo i like your process, i use a slam camera ( canon M50 ) and i use cinestyl or c log as pictrure profil. Do you think it gonna work if i apply the same process ?
It does, but it doesn't increase the quality of your footage. Actually when you grade your 8 bit log with color space transforms as LOG is meant to, a lot of the noise will show up, that won't if you keep your color muted.
I can't really see the benefits of this ACES Lite Workflow. No Hate! Make Footage look like Alexa? I use the CST OFX an just put in the spaces. White Balance Adjustments? I just use the Davinci Tooles, tempt tin / Color Wheels / offset. So what exactly is the benefit of it? Always loved your calm atitude and your work though Too - Thanks!
Thanks. :] Resolves temp/tint sliders are not doingt a good job to fix white balance. The ofx plugins works for high end cameras, for more common not so much. There is nothing special about the aces lite to a person who already knows how to manage colors. It's just one way among others, but it can be done the same way in any software. For example premiere pro or fcp.
I have a cine-d input LUT for gh5, that works fine with gh4. (I had gh4 before the gh5) Or then you can use the V-log profile with your external recorder in 10bit.
What? Can you shoot braw with Lumix S cameras? Send me a file please! Https://joo.works/contact-me At least black magic's Own cameras braw can be developed directly into acescct in the development module. Just use acescct/ap1 as you gamut/colorspace
on the video you have so many more film emulation options, is that for sale somewhere? I checked the Aces lite files and it doesn't have as many. Thanks for the great courses and videos!
No arri footage is flat look like paper. so it creates a wide look.if you want to get arri look. you do this several times to your video.import premiere pro your footage.do this several time.what is that? Tips no 1 First import log footage and apply reg 709 lut. it is colour correction Tips no 2 Same video select basic correction. Select contact reduce it -15. Next select shadow increase it + 15. Select sharpen increase sharpen +40 and save the video same clarity 4k to your system. Rename it video 1 (V1 sharpen 40 shadow contrast 15) Save it. Tips no 3 Again import same V1 footage Tip 2 same process do it Contrast -10 not 15 Shadow +10 not 15 Sharpen+20 only not +40 Again export save it has (V2 sharpen+20 contact 10 shadow 10) Save it has same quality 4k. Tip no 3 Again import footage Do same process Contrast and shadow same But sharpen +5 only not 20 or 40 That time your footage looks grey But luckily you get arri flat look. Your video looks wide.look like arri Cam. Export it has ( V3 contact 10 shadow 10 sharpen 5) Save Tip 4 Again import last export footage V3 footage adjust curv properly And colour grading now you get arri look but your video clarity little bit loss for eg 4k footage look like 3k footage.and fix helation and export it.next import your last grading footage to topaz ai enhancer you get arri footage.after edit I do this same process to get my video arri look.flat. I shoot my short film in a6400 Sony camera I do this process.you look my short film. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xSW30Ettfe0.htmlsi=zhMO8JQIMRXbfkgd
You talk about aces, but you never showed if you were working on an aces timeline. Then applied two luts, claiming to convert to and from the colorspace... Something doesn't seem right here. Hardly a tutorial, hardly aces workflow...
I'm sure he's in the DaVinci YRGB timeline, not an ACES one, as would be expected considering that he's managing all the color space conversions in the node graph. You could actually do a proper ACES workflow in a Resolve YRGB timeline if you ordered your ACES Transform nodes correctly. However, He's using the ACES Transform at the beginning to make use of the color matching IDT feature in ACES, but then he deviates from the rest of the ACES workflow by color grading after the ACEScct to Rec709 conversion. I'd imagine he does that because most of the tools in Resolve behave a little more intuitively in the Rec709 space than they do in ACEScct/AP1. I'm sure the tutorial goes more in depth (this is more of a teaser than a real tutorial) but yeah he calls it ACESlite because it isn't ACES.
T freeman is correct. This is not full aces, Steve Tobenkin (ACES Marketing/Adoption Lead) told me that if the workflow doesn't use linear space (Aces 2065-1), it's not real ACES workflow. ACESlite skips the linear space all together (ACEScct is display refered). So we don't need to do anything in the software settings and in other software (tutorials coming) I just turn off the CMS alltogether. ACESlite replaces all CMSs making them the same. So (bragging here a bit) ACESlite accives what ACES tried to do all along. You can use ACESlite in any software that supports luts, for example Premiere Pro. :D
