ACES Explained, Part 2
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- Опубликовано: 10 фев 2025
- In part 2 of this series, we're moving from the theory we covered in part 1 to the practical aspects of setting up an ACES workflow which facilitates optimal efficiency and problem solving.
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Finally! a youtuber giving great awesome advise and taking the time to explain everything properly instead of trying to salme everythign into one video. I can't tell you how long i've been waiting for this type of advisement. THANK YOU!
This walk-through series is helping me SO much. Damn. Thank you!
@@CullenKelly I just graded a short film using the ACES workflow and it felt like I have a lot more range with the footage. It was BRAW that I used an IDT into ACES and ODT into REC709.
I wish there was a way to see the full CIE scope in the ACES workflow. It always shrinks it down to REC709, which I guess is because that is the space my displays are in.
Of all theses guys out there explaining thi (and we are so grateful they're there), you are the better, straight to the point. Thanks.
What a great teacher you are. Thank you for sharing this for free. It means a lot
I cant even believe this is free other than most well explained ACES videos out there.
Cullen; your set of ACES tutorials discusses in a well-spoken and well organized way many points that were not clear to me, and that is so welcome. "Quick Start" type or intro videos just don't do it for me any longer. Love the longer, planned and highly organized approach! Well done. And I look forward to having your ORGANIZED SET of ACES videos as A REFERENCE AND REFRESHER COURSE. Love it. Mike
Thank you for making this series. I’ve been watching a ton of ACES videos, trying to understand the optimal workflow, and this is by far the best one I’ve seen so far. I’m trying to work out the workflow to start with BRAW green screen footage in Resolve, export EXR to After Effects, add some effect plugins in there and composite some Blender animation before taking the results back to Resolve for final editing and grading. Needless to say, there are plenty of opportunities along the way to wreck my color management!
Holy Molly! Tonight was my 1st time trying to use ACES and I had the same *oulier* issue and had no clue how to fix. Obviously, I hadn't had your instruction and I set my project settings instead of how you demonstrated in parts 1&2 and so I could not correct what was happening. Thanks again for this tip.
Watched Walter Volpatto's masterclass and this is sooo similar to his workflow which means this is GREAT! Thanks again for everything :)
really captivating series to explain ACES cct, you make my days (with coffees)
alltought that I can't perfectly use ACES cct, due to the absence of V-Log Lumix parameters in the IDT (input camera)
Cullen you make my days all over your channel that I follow patiently,
you're a gentle and precious teacher
Thansk Cullen for this marvelous explanation about or to solve that kind of problem
Best ACES overview I’ve seen. Nice work!
Wow! This is so incredibly valuable! Thank you so much for making these videos and giving us access to them!!!
Totally with you on that. Taking care of the pipeline in the beginning, takes headaches away in the long-run. Especially when dealing with few hundred shot timelines. :)
Thank you for explaining at 10:06 why it is better to set up ACES manually versus in Project Settings Color Management. I've been doing the Project Settings way, and I had actually run into the saturation issue discussed in this video. I typically work with Sony S-Log3 footage. Even though this method is a little more work and set up, it's worth it! I've been trying to fully comprehend ACES for a while now. Thank you so much for this immensely helpful series.
@@CullenKelly Looking forward to that!!
Thanks for clarify ACES. Till now I was only working in Davinci Resolve Wide Gamut, but it's good to known both color menagment options.
Superb clarity. Thankyou. Reminds me of Goatseye, another superb Resolve teacher
Another great tutorial Cullen. Love your channel. All about meaningful content, not flashy presentation. Your workflows are changing the way I work in big and meaningful ways, so I thank you for sharing your knowledge and look forward to binge watching all your videos!
Your articulation is amazing! Thank you.
Crazy help, this is amazing. This video needs a double thumb up button.
Your channel is amazing, i thought i knew grading, but i realized how much of mistakes i made, thank you for the time you put into this.
Thanks for the amazing content as always. I'm new to the colorist world and your videos have been a good addition to my studies.
I'm just in awe. The pipeline is so clean and you explained it very clearly as to why you make the decision you make. Looking forward to the rest of the series. 👍
Thank you for that series. Everything become very clear now.
Thank you so much for this super helpful tutorial. You just made my day. I ve the feeling this is going to be my awakening of color grading in Resolve. I finally got some fundamental ideas 💡👍🏻😎 Now, coming from fcpx, I ve to put in the time to get the editing part going smoothly.
Really awesome video, I’m excited for part 3
amazing series! thank you! thank you! thank you!
Fantastic explanation. That's so much.
7:49 - I am early on in my understanding here (but much further along than I was 30 minutes ago thanks to these videos) but my guess is that using Davinci wide color gamut instead of ACEScct as the intermediate colour space would avoid this situation with clipping (since Davinci WCG is bigger than the Arri colour space). No doubt there are other considerations when making such a choice, however.
@@CullenKelly Are you aware of the DCTL from the ACES community that is available on Github and discussed here? ruclips.net/video/3imFV0RjU0o/видео.html
I found it super helpful on LED clipping in my BMPCC shots.
I just watched another great episode of grade school where you are talking about this exactly 😅 ruclips.net/video/jLQG5_dovYw/видео.html
ACES needs to hire this guy!
Wow spot on bro, thanks much your a genius can`t wait to try this tonight on my music video project, cheers
This was very good, loved it. Can't wait for more
great explanation! but I have confusion on using HDR wheels, for adjusting the kelvin photometrically. what color space I put theme ACES or ACES(ap1)? BTW all these info from previous vids u published many THANKES
Thank you Cullen, great presentation! I do notice that many feature film colorists tend towards node-based colour management for flexibility. Looking forward to the next videos in your ACES series. It would be great if you could share your halation technique - is it based on edge detection, or blending modes only? It is really difficult to master, so always searching for methods that bring beautiful and hopefully convincing results.
@@CullenKelly any hope for the halation node breakdown? Thanks! 🤝
Thank you for your tutorials, Cullen!
I have two questions and I'll be happy if you can answer them.
1. Is there any advantage to use ACES, if your footage is all in REC709? And by advantage, I mean greater quality, dynamic range, lower noise, richer colors, or something like that? I tried it and all the controls, luts and other stuff is behaving very differently, which drives me crazy. So I'm wondering is there a point for me to keep trying.
2. When we have footage that we don't know in which color space and gamut is shot, how to configure our input conversion node? For example, I have footage that clearly is shot in LOG, but I don't know if it's S-Log, C-log, V-log, and which version of that? So, what do I choose in the dropdown menu for "Input transform" in the first ACES Transform node?
Thank you very much for making this series of videos, can you enable automatic subtitles in this video?
@@CullenKelly Ok, thank you for your answer
Love it! May be a bit of a silly question, but how do you add a PreNode? Can't find anything about it in any forums either! Thanks.
This is beautiful.
Love the ACES series. Non-ACES related question though: for your halation node are you using a plugin?
@@CullenKelly Awesome! It's a very cool effect and does a great job of emulating the real deal
Thanks for taking the time to go through this thoroughly! I'm noticing that display manufacturers are talking up their P3 displays, while most tutorials assume a rec709 (in this case, transforming from ACES cct to rec 709 in the timeline node). Is there any benefit to taking advantage of the wider p3 color space your display is capable of, and if so, how would you go about it?
Very good tutorial cullen, the question is, how do I use a qualifer if the image is practically without contrast in the refered scene
Hi, I've been following along to all your videos, but am struggling a bit with transferring to an ACES workflow. I shoot on a BMPCC 4K, and when I convert to ACES all of my dark spaces usually end up having green artifacts throughout until I raise the lift or use another way to up the black level. Is this a normal part of the workflow? Am I doing something wrong?
Thanks for all you do for the coloring community!
Thanks Cullen! Fantastic explanation and series! Would love to get your thoughts on two quick questions: If you didn't have to deal with outliers if, for instance, you're not working with Alexa footage or other sources with a larger gamut, would you consider using the DaVinci Color Managed Workflow which you mentioned at 10:30? Also, would you consider using DaVinci Wide Gamut instead of ACES cct as an intermediate color space?
Hi Cullen, thank you so much. Your videos are by far the most insightful on these topics that I have seen until now. I am working with equipment that does not have any ACES Inputs in Davinci, but I really like the idea of simplifying the output after the look. I have different Log Footage that I would like to put into a wide color space first, then work on it before doing the transform to rec709 at the end of the timeline grade, do you have any idea if this could be done and how?
Immediately subscribing
can i ask? why people have to shoot footage with so many different color space but eventually bring it back to same Rec709. is there any advantage of getting bigger color space if at the end the result all squeeze to Rec709 Color space. sr i'm just amatuer to Color world and davinci resolve
With the output color space on the aces transform node, is there a difference in choosing acesCCT vs csc- AcesCCT. There is only ACES, CSC-acesCCT and csc-acesCC showing on mine.
Learning so much from you colourist wizards! Thanks so much for the content
Cullen Great Video, Quick Question. When I implement Aces cct in the Resolve TL under Color Managment my viewers go whack??? How do I fix this? I am starting a new film and this is my first go around at Aces. Thx in advance.
Love the video man :) but now just a quick answer. If I understand correctly, using the ACES transformation in the node, give more flexibility to fix problems in the future, compared using the media color management from the menu of resolve, right?
@@CullenKelly thanks ☺️
Great tutorial as always ,specially the later part . However, I have a bit different question and it’s the continuation of the one in previous video. I noticed that all the phone displays are a bit on the yellow side, not like simple color temp shift. To confirm this issue I tried many devices from low range to the flagship ones (includes OnePlus,Samsung,Apple etc.)
So my question is : do colorist take this thing into consideration and use a cellphone display to monitor stuffs or they just use a consumer level monitor along with some high end deliverables?
Thank you Sir for the explanation and for the article as well.
Cullen, thanks for this. Small question: when I add a node in the timeline view, I can't get it to hit all of the outputs on my group. So I'm just doing the post clip route, but would like to know how you got that to work. Thank you!
Just found your channel and I'm loving it ! Great job ! I have one question about this workflow :
Why do we leave the timeline colour space (in the project settings) in Rec709 (scene) ? How do we know the nodes between the ACES Transform nodes are behaving in ACEScct and not under the timeline colour space setting?
oh nvm, I just had to keep watching Part 3 ! :-D
I've been looking forward for this part 2. Thank you very much.
I have a maybe dumb question, so I appreciate the patience, but I usually work with groups to separate clips for other purposes. With this approach I'm loosing the very powerful tool that is grouping. Is there anyway I can keep this level of visibility of the ACES workflow (input and output) but reserving the groups for different scenes?
Excuse my english, I'm not a native english speaker. Thank you very much in advance.
@@CullenKelly Thanks very much for the quick response. I'll try this, Cullen. Something is better than nothing!
I've watched every video you made, and I think I've learned a lot from them.
Keep on rocking!
Greetings from Argentina.
I like the workflow to understand what ACES is doing but you could also just set the CM in the settings and still be able to edit your „outliers“ by right-clicking those clips and choosing „bypass color management“ and do it manually like you showed.
ah nvm. just saw ctcwired posted something similar. i get what you’re saying. i’ll definitely give it a try
Hi Cullen. Thanks for this. Can you tell me what your project color management settings are set to?
@@CullenKelly Many thanks!
@@CullenKelly Hey Cullen, great video! Really appreciate your work, good explanations, and advice rooted in real world experience.
One thing that tripped me up for a little while trying to get to grips with this workflow (I'm brand new to grading) was in the first video you show your project settings and have the timeline color space set to rec709 - I couldn't understand why it wasn't set to ACEScct, so dug through the comments to see if you addressed it. In hindsight I realised you weren't really talking about timeline color space, but it could be worth adding an anotation to that bit of the video (about 4mins in) to clarify for the more obtuse among us?
Hi Cullen, I can't tell you how incredibly helpful your videos are. I am really enjoying watching your content and the quality of your teaching is the best I have found online. Thanks so much for this!
I have two questions and it would mean a lot if you could help me out. First, if I set up ACEScct the exact same way in the color management settings I get a different looking image than I get using nodes. Do you know why this happens?
Secondly, I am wondering why we would ever use ACES transform nodes in a Rec.709 Timeline over RCM (except for the benefit of placing nodes upstream). It is my understanding is that in RCM no image data is ever clipped during the Input to Timeline color space conversion. Whereas I think that in a Davinci YRGB Rec.709 Timeline we are losing all the image data outside of Rec.709. Or am I missing something here?
I just solved question 1. The image looked different because even though RCM does not have Blackmagic Gen 5 available in the ACES input transform it does somehow recognize it. Because if I am using Davinci YRGB and a CST node from Blackmagic Film Gen 5 to ACEScct and another node with an ACES transform from ACEScct to Rec.709 I am getting the exact same result as with using ACEScct and Blackmagic Film Gen 3 in the project settings.
@@CullenKelly Sorry if I was not clear enough. Even after reading the manual, I am not sure about the Davinci pipeline. I thought that it would be best to set the timeline to a big colorspace to work with all the data we have and transform to Rec.709 at the end of the pipeline. Therefore I assumed that it is better to set the timeline to Davinci YRGB/ACEScct and use the ODT to transform to Rec.709. By doing this the CIE Chromaticity is full of color and the waveform in HDR tools zones covers the range from -8 to +8 stops.
But strangely looking at the zones of the HDR tools in a node before the ODT everything is rolled off at about +2 stops. Whereas looking at the zones of the HDR tools after the ODT the waveform goes up to +8 stops. This again shows me that I am somehow not getting this :)
Thank You !
Can't you use the project color management settings and just bypass color management on the outlier clips?
Yep, that could work!
Hey, Cullen. In future ACES videos will you get into delivery to multiple sources and tagging?
Thanks Cullen. "To seek immediate results is to preclude the possibility of complete understanding", J. Krishnamurti. Can't tell you how glad I am that you don't do that.
Question though.........Your clip #4 is a member of your first group, i.e. the one with the IDT for Alexa. If you apply it at the clip level, as I think you are doing, or as part of another group, isn't the IDT being applied twice?
Hi there, so you recommend adding this workflow to normalizing all images even if all my footage is originally rec709? I'm digging through my old footage and was wondering if that would make sense if they were not shot in log.
Awesome! Thank you for directing me to those! I just found your channel and have started the binging, but since a lot of your content is long form (so awesome, thank you!) it is taking time.
Next on my list! Thanks again!
Hi Kelly, what setting is used in the Project setting - Color Management ????
@@CullenKelly highly appreciate an instant reply, One more good stuff has recently seen your valuable videos on Blackmagic Design training,
My one more query is when I select ACEScct to select as timeline color space, my video showing horrible because I have selected in Davinci resolve 17 Studio preference (checked Box) "Use Mac Display Color profile for Viewers" however when I unchecked it's showing correctly as per required, please guide proper selection.
My System Configuration
IMac 21.5 (4k - Retina Display ) With Proper Color Collabration
Ram 32GB
SSD 1TB
Super ! Thanks
Thank you big boss
good explain!
But how do you make groups for scenes with this workflow?
I’m not sure if this changed in v17 but in 16, there was a bug where if you put your ODT in a timeline node it messes up dissolves in the timeline where it changes the dissolve curve and they appear faster. Unfortunate behavior.
I love ACES
ciao Cullen potresti attivare i sottotitoli su questo tutorial? Grazie
excellent
Actually the whole purpose of colorspace transform is to do the math and remap all the colour values in the wider color scape to much smaller colour space. Then why do have to do the secondary saturation adjustment prior to the input CST?
thanks
so sad, why Google doesn't make subtitles for this video :((
Because My english not good, so I read better than listening
@@CullenKelly can you go to your youtube setting and turn on subtitle for me?? Plz !!!
Please turn on subtitles
Subtítulos, please.
No hair Anthony Kiedis
Please, sub titles
Hi Cullen, can I goup clip and set pregroup as IN aces cct transform and post group as OUT rec 709 transform?
Hey that ruins the whole point of ACES if clipping shows up because Arri or what else comes in with a bigger color/gamut space, can 2065-1 cut it? Why are people want smaller color space from ACES that is what I don’t understand in the first place