That's what I have been doing, I just haven't set up Resolve for ACES
simply because the colourist flagged that approach as a no-no.
I should though, just out of curiosity.
On 3/7/14, 11:23 AM, Randy Little wrote:
well you could try with the free version just to see if it works.
Randy S. Little
http://www.rslittle.com/
http://www.imdb.com/name/nm2325729/
On Thu, Mar 6, 2014 at 4:41 PM, Frank Rueter <[email protected]
<mailto:[email protected]>> wrote:
I had tried that but that doesn't even get close. I'm guessing if
Resolve was set up with ACES it might be a promising, but since
the colourist doesn't want to go there, I can't even try to do the
"right" thing.
On 3/7/14, 10:15 AM, Alex Fry wrote:
I'd be inclined to try aces-->slog using an OCIOcolorspace node
as a starting point.
On 7 Mar 2014, at 8:01 am, Frank Rueter <[email protected]
<mailto:[email protected]>> wrote:
Since I cannot get Resolve to match the ACES linear files from
RawViewer to the original mxf files (and the colourist refuses
to set up Resolve with ACES), my workflow now seems to become
the following (not that I am a fan, but it might have to do):
-export a bunch of frames from the film (including a test chart)
from Resolve as log dpx
-export the same frames as ACES linear from RawViewer
-in Nuke, create a sequence for each (AppendClip or Switch node
with expression)
-use those two clips as inputs to the MatcGrade
-set a key frames on each frame, analyze and export a 3d lut.
The resulting lut is applied to the output in Nuke just before
rendering log dpx files for final grading in Resolve.
This way I'm getting very close to making the VFX plates match
the original mxf raw files. It's not perfect, but probably good
enough in my case.
Needless to say that I'd prefer a less empirical way, but this
seems to be the only workable solution so far.
Cheers and thanks again for all your help Alex!
frank
On 3/7/14, 6:22 AM, Alex Fry wrote:
They would just be updating/improving their IDT.
I've tried the current one, and it work's fundamentally as
expected.
But like any sort of calibration exercise, you can always get
closer to the target with more time.
On Fri, Mar 7, 2014 at 4:05 AM, Randy Little
<[email protected] <mailto:[email protected]>> wrote:
I just saw that at NAB Sony is releasing an update to there
ACES implementation as well as s-log3 for the f65. So
Maybe they had something that wasn't quit right with their
ACES implementation?
Randy S. Little
http://www.rslittle.com/
http://www.imdb.com/name/nm2325729/
On Thu, Mar 6, 2014 at 11:51 AM, Alex Fry <[email protected]
<mailto:[email protected]>> wrote:
The ACES values are scene linear.
The difference with scene linear files you would have
previously been working with, is that whilst they would
have been scene linear in their intensity, but their
primaries are effectively display referred (either
Rec709 primaries or P3). Because their gamut and
whitepoint already match your display device a simple
1D transform will give you a viewable result.
ACES stores values using the much wider primaries shown
below, they are wide enough that they cover all of the
visible colours in the horseshoe of the spectral locus.
When you look at the Yxy diagram below, you have to
remember that big Y/brightness (the intensity of the
pixel) is collapsed into the Z axis, so you have to
imagine it coming out of the screen towards you.
The scene linear files you would have used in the past
can only represent colour within the green or blue
triangles, ACES can represent colours across the entire
spectral locus (plus some imaginary colours outside the
horseshoe but within the ACES triangle). But the total
sum brightness, and its linearity relative to light
levels in the scene remain the same.
I was under the impression that one of the main
points of ACES is to use the linear light state as
the common ground for all colour qworkflows
It is.
And part of that is divorcing the primaries from either
the input device or output device.
Inline image 1
On Thu, Mar 6, 2014 at 10:19 AM, Frank Rueter
<[email protected] <mailto:[email protected]>>
wrote:
Thanks.
Using OCIO and RRT (sRGB) yields the expected
result. I guess my confusion was/is with the fact
that ACES linear does not produce the result I
expected from scene referred linear data, and I was
under the impression that one of the main points of
ACES is to use the linear light state as the common
ground for all colour qworkflows, as it should
represent the light data captured on set irrelevant
of input output signals.
In other words, I would a have expected ACES linear
to be a lot closer to the linear light images I
have been working with over the years.
It may just be a case of un-learning things to be
able to understand this fully.
Cheers,
frank
On 3/6/14, 8:17 AM, hxpro wrote:
On 03/03/2014 19:52, Frank Rueter wrote:
Actually, scratch that, ACES linear
followed by rec709>linear in Nuke
doesn't look like anything I see in
RawViewer in terms of saturation.
The gamma looks reasonable though.
Any more hints?
ACES uses very saturated primaries (in
chromaticity terms), this means that just
performing a 1D colour space conversion will
result in desaturated looking images. You need
to use something like the RRT+ODT to convert to
something 'filmic', or at least you need to map
from the ACES primaries into the rec709
primaries somehow. You'd need to be careful
doing so due to gamut missmatches, which is
where a lot of the challenges are.
Kevin
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