Thread: Does anyone use aces colour space with ursa 4.6k in resolve?

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  1. #1 Does anyone use aces colour space with ursa 4.6k in resolve? 
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    Other than matching cameras, what are the benefits of using aces colourspace in the Resolve Colour Management?

    Highlight roll off looks a bit more pleasing , and potentially skin tones?
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  2. #2  
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    Quote Originally Posted by drcoffee2 View Post
    Other than matching cameras, what are the benefits of using aces colourspace in the Resolve Colour Management?

    Highlight roll off looks a bit more pleasing , and potentially skin tones?
    My grader used ACES with my last job after comparing the two. It did seem like a better starting point.

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    Senior Member Asyndeton's Avatar
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    I use ACES for pretty much everything. There are multiple benefits to using ACES aside from easier matching of cameras and a good starting point. It is based off of Vision 3 Kodak film stock (and I suspect that Arri's color science is as well, the Arri Rec 709 LUT and ACES look very close on Alexa footage). Grading overall is much easier, tiny adjustments go a long way and just feels better to me after you get used to it.

    Being able to change your deliverable window by swapping ODTs is huge, it makes your projects future-proof. I can do a Rec 709 grade for a client and then later down the road they can ask for an HDR pass, which I simply switch the ODT and do a trim pass in HDR. Or same with a DCI theater pass if they get theatrical distribution later on.

    VFX workflows are a breeze. If you can do a look on VFX pulls, render out to EXR without the ODT applied, send them to the VFX artist with a LUT for the look, tell them what your settings were and they can do their VFX work on top of your look without the actual footage being altered at all color-wise. No worries about color shifts or any other issues with the footage whatsoever, which I commonly run into with non-ACES VFX workflows. I'll send a pull off to an artist, get it back and the color is completely different and I have to re-match to the surrounding shots.

    Other benefit is ultimate archival of your master footage. If you have the storage or LTO tapes you can export your footage as linear EXR without an ODT applied and you can come back to that project 10 years later to make new deliverables in whatever new formats there are and do an entirely new pass on it or pick up where you left off.

    The only real downside I encounter a lot, and especially with 8-bit footage, is that it does not handle clipping highlights very well and just break badly. Very commonly see it in cheap LED lights, red brake lights on cars, or simply super-contrasty over-exposed footage. There's a CTL script that I use that can fix it up most of the time, but other times I have to get creative to work around it and save it. Usually by using isolations and adjusting saturation, hue or color temp.

    I'm probably forgetting a couple other things off-hand, but ACES is an absolute brilliant system.
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  4. #4  
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    Quote Originally Posted by Asyndeton View Post
    I use ACES for pretty much everything. There are multiple benefits to using ACES aside from easier matching of cameras and a good starting point. It is based off of Vision 3 Kodak film stock (and I suspect that Arri's color science is as well, the Arri Rec 709 LUT and ACES look very close on Alexa footage). Grading overall is much easier, tiny adjustments go a long way and just feels better to me after you get used to it.

    Being able to change your deliverable window by swapping ODTs is huge, it makes your projects future-proof. I can do a Rec 709 grade for a client and then later down the road they can ask for an HDR pass, which I simply switch the ODT and do a trim pass in HDR. Or same with a DCI theater pass if they get theatrical distribution later on.

    VFX workflows are a breeze. If you can do a look on VFX pulls, render out to EXR without the ODT applied, send them to the VFX artist with a LUT for the look, tell them what your settings were and they can do their VFX work on top of your look without the actual footage being altered at all color-wise. No worries about color shifts or any other issues with the footage whatsoever, which I commonly run into with non-ACES VFX workflows. I'll send a pull off to an artist, get it back and the color is completely different and I have to re-match to the surrounding shots.

    Other benefit is ultimate archival of your master footage. If you have the storage or LTO tapes you can export your footage as linear EXR without an ODT applied and you can come back to that project 10 years later to make new deliverables in whatever new formats there are and do an entirely new pass on it or pick up where you left off.

    The only real downside I encounter a lot, and especially with 8-bit footage, is that it does not handle clipping highlights very well and just break badly. Very commonly see it in cheap LED lights, red brake lights on cars, or simply super-contrasty over-exposed footage. There's a CTL script that I use that can fix it up most of the time, but other times I have to get creative to work around it and save it. Usually by using isolations and adjusting saturation, hue or color temp.

    I'm probably forgetting a couple other things off-hand, but ACES is an absolute brilliant system.
    Nice one thanks Darren, interesting info :-) i'm going to test it more. I pretty much always shoot prores, is ACES as relevant for RAW workflow?
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  5. #5  
    BRAW with ACES is quite Alexa like in it’s natural skin tones. You load the settings and boom, your base grade is done. Love it.
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  6. #6  
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    Are there good materials (YT, books) on using ACES workflow in Resolve? Any recommendations?
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    Quote Originally Posted by Asyndeton View Post
    It is based off of Vision 3 Kodak film stock
    Hi Darren, where did you hear it was based on kodak vision 3 stock? Thanks
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  8. #8  
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    Quote Originally Posted by drcoffee2 View Post
    Hi Darren, where did you hear it was based on kodak vision 3 stock? Thanks

    Someone that I work with was involved in the first ever ACES workflow test years back done by Warner Bros. We've also spoken with people at the Academy about it who were directly involved in the development of it.

    As far as RAW, it is just as good for RAW footage. You don't have to set an IDT on RAW footage since ACES inherently knows what do with the RAW data.
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  9. #9  
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    Quote Originally Posted by Asyndeton View Post
    Someone that I work with was involved in the first ever ACES workflow test years back done by Warner Bros. We've also spoken with people at the Academy about it who were directly involved in the development of it.

    As far as RAW, it is just as good for RAW footage. You don't have to set an IDT on RAW footage since ACES inherently knows what do with the RAW data.
    Since Resolve does mess up RCM and ACES since version 15.2.3 it is necessary to use a standard Yrgb timeline and add a transform (BMD film V4 to ACEScct/AP1) on the clip and ACEScct/AP1 on an adjustment layer or timeline. Actually does a better job on clipped reds then using ACES directly does for no known reason. Color is fantastic - even better than the Red IPP2 workflow.
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  10. #10  
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    Quote Originally Posted by deezid View Post
    Since Resolve does mess up RCM and ACES since version 15.2.3 it is necessary to use a standard Yrgb timeline and add a transform (BMD film V4 to ACEScct/AP1) on the clip and ACEScct/AP1 on an adjustment layer or timeline. Actually does a better job on clipped reds then using ACES directly does for no known reason. Color is fantastic - even better than the Red IPP2 workflow.
    Hi, how is it RCM and ACES is messed up in 15.2.3? I'm using 15.2 , should I not update?


    I've been experimenting with ACES in 15.2 , with prores ursa 4.6k footage.
    Settings:
    RCM
    Colour Science : ACEScct
    ACES Version : ACES 1.1
    ACES IDT : Blackmagic 4.6k Film v3
    ACES ODT : rec709

    I can't seem to work out the settings in Colour science YRGB for ACES with colour transform ? Colours always looked wacky, they don't pop into a rec709 look as with the RCM settings above. Would you mind running through the equivalent settings for YRGB? Is it using the "color space transform" plugin?
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