Davinci Resolve: ACES Explained, Part 1
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- Опубликовано: 30 июл 2024
- ACES is a powerful tool to incorporate into color grading workflows, but like any tool worth using, it requires proper knowledge and technique. InPart 1 of this series, we're looking at what ACES is, and what it has to offer.
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Definitely one of the better tutorials I've come across on Resolve and ACES. Thanks for taking the time to put this together.
Thank you Cullen for this great content and informations. I'm already working in aces and I'm finding it hard to have the same control with the panel. Can't wait for the next part and trying it out! 🍀
I have been struggling with color spaces and nodes since a long time and you have explained it so well. now I'm confident with all the tools that I'll have to use! Thank you.
That's a very simple and precise way to explain ACEs in resolve framework. Awesome.
Thanks so much for this, years of me muddling by and a lot cleared up with this video! Fantastic reference guide and knowledge.
Wow! I've used PS and light room for a decade and thought I understood color management and workflow. Coming to video now and this is incredible.... I'm trying to wrap my head around the intermediate color space.... Guess I'll be watching more of your videos! Thank you so much! These are difficult concepts and your explanations are great, considering the complexity of the topics
This is the best explanation Ive seen on colorspace!!! Short but so effective! 🙏🙏🙏🙌🙌🙌 the penny dropped hard with this one.
Had been struggling with color spaces and what they mean since I installed Da Vinci Resolve on my iPad Pro . This video made me understand that what we are coming from and working on it and where we are headed . Just awesome ❤. Gonna watch all videos and learn everything about ACES
wow, now i can grade the Blackmagic design footage i usually capture and not have mismatching color or grading issues when grading footage next to it from an Evo II drone. solid praise on speaking simply and systematically.
Thank you! Looking forward to this series. Great start!
Hi Cullen, I wasn't able to get into the "Color Management in DaVinci Resolve 17 workshop" probably due to my own ineptness. Will it be available somewhere that I can get to it?
Thank you! I finally understand what ACES is all about. Now on to part 2.
Love how easy you made this. Thanks!
Thank you! As a novice editor (but with decades of sound experience) I have been watching lots of tutorials. I am keen to use ACES on my amateur cooking videos because I use two mismatched sources. But so many tutorials have been delivered at such high-speed and so unstructured, that I have been floundering. I am getting old! Your pace is perfect and in just two vids (part 1 & 2), you have unscrambled my brain. Brilliant!
@ccHogan I'm exactly in the same space and I really do appreciate this breakdown. I know using ACES is a bit more involved than how it was laid out in this 1st part but @CullenKelly has given me the clarity to understand what ACES is. (even for this slow to understand old dog lol)
This is great! I like how clear it is but also not too technical
I have recently found your video and the only thing I can say is: THANK YOU! Your video made it absolutely clear what ACEScct is and why it's worth using. I use it to grade and deliver HDR footage on an SDR display, which was hard to do without an intermediary color space and ACES. It's not a "correct" way to work with HDR, but it works like a charm for my needs. So, while I'm late to the party, I just wanted to thank you for this tutorial.
You're very welcome!
The greatest channel on RUclips period.
I've watched a few of these explanations... and this one, by far, makes the most sense. Thanks!
@@CullenKelly where is part2 I can't seem to locate it
Great content. Thanks a lot. I can not wait for part II
Great video, thanks a lot for sharing the knowledge with us. Camera colour space, working colour space and display colour space. 👍
Enlightened , Thank you so much for breaking it down so understandable and precisely perfect.
Super explanation. Hopefully this is going to help me color grade and match my mountain bike footage which comes from various DJI, GoPro, and other cameras. My only problem is working out what to use as the input color space for those cameras (when shooting in Log)
Your articulation is amazing! Thank you.
Concise and very informative. Thanks for these!
These are great! Loving the content
This was so informative, thank you! I just have one question - how would you do an HSL qualification for example, prior to the final Rec.709 Output node? From my understanding, you need a good amount of colour separation and contrast to be applied in the nodes before in order to be able to get clean keys. So obviously, you wouldn't want to pull an HSL key on a Log image. That's the bit I'm confused about.
excellent tutorial. just getting into it, but this is a big one here.
This is very informative, thanks for the series of videos about that topic :9
Great content. Looking forward to the rest!
Excellent video! Subscribed
Thank u so much sir for giving these valuable knowledge♥️
Thank you for making this video!! it helps a lot!
I’ve been so nervous of using Aces , but you’ve made it so simple.
Thank you😅
Just loved it ❤
Excellent explanation
Very informative and helpful! Thank you!
Waiting the next episode! Thank you.
Thank you so much for this!
Wow 🤯...such great content. Thank you.
Superb presentation. 🙏🏾
Thank you! This is so useful
I can't wait to make the best images thanks to your teachings
very well explained!👍
Nice video! What’s the benefits of setting it up using nodes vs in the project settings? And what do you do in the project settings when doing this node based transform?
Amazing, thank you
Priceless!
Thank you...
Outstanding... can't wait for next part. I'm shooting on a GH5 in Vlog. Which input transform would you suggest that I use?
Hi, thank you for giving basic fundamental concepts of ACES. I use Fujifilm XT2 camera and shoots video in Flog. Unlike in your case there is NO option of Fujifilm in drop-down menu for 'input transform'. What should I do in such case (your recommendation)? Thank you.
Premium Information... Wow! Thank you
This is fascinating, and I am working in a project with the exact same mix of footage, I am wondering though, why would it be better to to this than set in Project settings Color Management, Davinci YRGB Color Managed and Davinci Wide gamut in the color science and Davinci color management preset and then output color space rec709 2.4? If I do that it seems to apply the proper lut for the Arri automatically.. as opposed to me doing the sandwich of nodes?
Healthy and successful 2022 to youu and your loved ones....very nice "ACES Explanied part 1,2,3" demo...simple, easy to follow, clear and visible changes on the nodes...is there a way to get hold of the FOOTAGE that U used for the demo? Any ftp site to download it from? any fee? plz advise...cordially Tibor Spiegel
This was awesome. So if you were working with a film emulation LUT that is typically your final output LUT, would you place this before or after the ACES ODT?
ty
Hi Cullen, what difference is there between this process and using Log C as the intermediate grading space for different shots?
Love the asus methode
What input should I set it to for videos taken on an iPhone SE 2?
I feel bad getting these stuffs for free. Very nicely explained, with simplicity.
However, I had two queries
i) ACEScct is labelled as color science in Project Management settings and after that we can precisely choose IDTs,ODTs . Now in OFx plugin selecting that as an ODT doesn’t tell what is the actual color space and/or gamma . How can we be sure or identify this? (Don’t know if this question makes any sense)
ii) I graded a demo for one music video for reviewal purpose and mistakenly selected Output Gamma as 709 in CST rather than 2.2,2.4 or any specific (Output color space was 2.4). It was fine in monitor and I tested in other laptop displays or monitors and it looked identical however,in phone or tab displays the color is bit on the yellow side . I even tagged a 2.4 gamma in delivery.
Now I am confused about the gamma of rec .709,or is the gamma 2.4,2.2 or BT 1886?
I asked this because in ACES Transform you selected 709.
Thanks a lot for the video by the way and looking forward to the whole series!!
Amazing video. A question, can I do this with footage from a GH5 (Vlog L) ?
thx in advance
Dude, you got me here @1:21 !
THanks
Hi! Could you make a video about the new Davinci Wide Gamut and how it compares to ACES? Thank you!
it might seem a stupid question. but do you start grading after the color transform. or you are creating nodes before it and start grading
Thanks. It seems similar to people using Arri as colour space middle layer, is this ACES better than that approach?
Where would you use a lut in relation the the aces colour space transform? For example cineon film to Kodak 2383
Hi Cullen, what if we have miltiples cameras all in rec709, but with cinelike D profile?
Hey, Cullen! Firstly, I love your videos. I find myself circling back to your content after having my BMPCC 4k for several months now. I've primarily used the Project Settings in Resolve, and I quickly gravitated toward Davinci Wide Gammut to Rec. 709 color management approach. I'll be honest, I like the look of the camera's color space, but with all of these different workflow options, I'm a tad confused. I love your shorter video series (like this one). If you're shooting everything on the same camera (BMPCC 4K in this case), what approach would YOU take? I tend to avoid luts in general, but I do like Resolve's included Kodak film print LUT. I tend to color manage, then correct (match shots) and then put the Kodak LUT on at the end. I'm still a total beginner in my own mind, and I'm open to feedback or another approach alltogether.
@@CullenKelly I watched the first video on DWG workflow yesterday. I'll keep going. I did notice most LUTs look REALLY dark when I use the color management workflow. I'll keep learning and get back to you. Thanks for the videos!
Great video, except I'm a bit puzzled why decided to record the screen with a camera rather than to an actual screen capture inside the OS.
I'm here because I'm interested in matching a my A cam fujifilm x-t3 to a panasonic g85 which has no access to log. It seems that ACES might help out in this situation.
Thanks
@@CullenKelly Looking forward to watch the next video. Ah ok yes the flickering threw me off.
Is the same as using the CST node?
Thanks a lot for these videos Cullen - extremely helpful to see things being put together manually. As mentioned on LiftGammaGain, what happens when you have an ACES tarnsform like at 6:24 where the Input and Output Transforms are both Rec709? In my mind no transformation should happen at all, but that's clearly not what's happening here... C-:
@@CullenKelly Thanks so much, but it seems like the Rec709 to Rec709 transform does make a difference - when I screenshot your video before and after, the green billboard is a lot less saturated with that transform switched on. I also tested it with some of my footage and when you have very saturated colours, a transform like that does seem to map the colours to a smaller gamut, if they're out of the Rec709 gamut in the first place I guess? But if they were, then yor source footage wasn't really Rec709? Can you try and explain what is actually going on here and why/if we would need to transform to Rec709 if we assume our source footage is already Rec709? C-:
@@CullenKelly Ah - this is starting to make sense - I had no idea there was always the RRT going on inside that node. So silly example: if I had 10 of those ACES transforms after each other (not that that would make any sense), each going Rec 709 in Rec 709 out - that would slowly disintegrate the colour values as there would be a little bit of tonemapping applied each time - meaning this is actually a destructive operation if not used properly? THANKS!! C-:
I like your T-shirt. Not sure if you've ever been to Shikoku in Japan, which is printed on your t-shirt
Hi, Cullen, I have run into a problem with ACES and text/titles when using ACES on the node level. Basically, when using groups, I transform to ACEScct in pregroup, then convert back with a timeline node. But that has the effect of making text generated inside DR jagged, aliased. My work around is to convert from ACEScct in post group instead. What have I missed? IS there a better way of doing this? Obviously my brain is not as unscrambled as I though!
@@CullenKelly - Ah! I have yet to work through all your vids! Yep, that is exactly it. Well, at least my workaround isn’t idiotic, though it is a little clunky! It also means that any final look and feel adjustments are either going to be post aces transform, so in rec709, or will replicated in every group. Thanks, Cullen.
Thank you Cullen, I try to work in Aces, in rcm > DavYRGB > Aces cct, the wheels looks so friendly, but when I try to change the rcm > Aces > Aces cct > the wheels become unfriendly. in this case, i used drawing pad to work, could you give some tutorial using rcm > aces cct.
regards
@@CullenKelly wait to see, Cullen. thank you
I'm new at color grading, and I see everybody using CST but nobody teaches the before. How do I preset davinci color management?
👍
amaizing, i have a problem tho, i doesnt have ACES CCT/ CC on my input/output transforms, instead i have CSC - ACEScct/cc/cg, i thought that maybe i was witha previous version, but i have davinci resolve 17 studio and also on my ACES VERSIO TAB on the FXpanel i have ACES 1.1/1.2/1.0.3, is it CSC ACEScct any different to just ACES cct? and if dont how can i solve it ? maybe you could help, sorry for the extend message ! best wishes :)
@@CullenKelly thank you ! :)
Hi Cullen, nice video. Be aware that if you choose this ACES workflow on node tree the settings on "Timeline Color Space" will perform a gamut clipping. So it's ok for normal deliveries keeping always the bigger one on the settings (like P3 for Cinema and then add a node for compress to 709 for TV) However you can't export a proper GAM for archival, as it would be clipped. Compare the results using ACES on project level and node tree and will see that results doesn't match.
@@CullenKelly Hi Cullen, we have been running this workflow (ACES node tree) in several features and seen some isues: titles with textures and ALPHA channel sometimes don't behave the same in display referred from graphic department and ACES in DV. This has been addressed in V17 at ACES project level but still not at ACES node tree (reported already to Peter Chamberlain at LGG forum) Regarding timeline color space when working in ACES node tree it doesn't have any effect on MOST of the grading tools, but we had problems on OFX "Light Rays" changing from 2084 P3 D65 from Dolby Vision pass to P3 2,6 for DCP pass (to have later the transformation to XYZ when exporting the DCP) So if ONE effect changes I can't be sure some of them might be doing something as well, and rather not to take risks. And for gamut clipping I am still investigating the differences when you export GAM in ACES project and ACES node tree comparing with other applications (like our Daylight or Transkoder) I love using ACES on the node tree, it's flexible and versatile but I think BMD still needs to work on it a little bit for making 100% ACES compliant. Hopefully will be soon! Thanks for sharing your knowledge!
@@CullenKelly hahahaha, thanks, Cullen! I admire your knowledge designing DCTLs and sharing that to everyone! I wish I had those skills! In our facility I have to take care of those things since we have several machines and workflows for different clients. So everything should match (whitin reason) from set to final delivery. I will let you know if BMD improves the ACES node tree workflow. Thanks!!
@@LuisOchoacolorista Hi Luis, I started trying an ACES node tree workflow after watching Cullen's videos (I'm pretty brand spanking new to grading, and only do some supplementary grading on small and personal projects). Since my grading is in those small projects where most post-production is happening on one system and one software (fusion, resolve edit, color) I quickly ran into the odd behaviour with things like graphics and fades. You seem to have way more experience dealing with this.
I only need to deliver in rec.709, so my motivation for using a color managed workflow comes from my practical need to deal with a variety of cameras (mostly low budget doc type work) better. The node tree flexibility (rather than project level) makes sense to me, especially to let me deal with different IDTs.
Given some of these integration issues, how would you suggest dealing with some of these ACES issues? Or would you suggest a different color management workflow?
@@jonathanpmines Hi, it looks is still an issue with Resolve. Working ACES at project level is fine but depending how you use the ACES nodes you might still find those differences. My sugestion would be going step by step and starting on ACES project, hopefully BMD will address the bug eventually.
Hello! Please tell me: do you rate first for DCI P3 and then for rec 709 separately? Or do you just evaluate for DCI P3 and then do a node for compress to rec 709 and disable nodes depending on whether you need rec 709 or P3?
So I've been using color transform since I moved to SigmaFP. With this camera I have to take linear P3-D60 to 2084 Do I just need to do that prior to my aces work?
@@CullenKelly awesome, thank you!
This is very interesting, but I have a question! Why Red, Blue and Green and not Red, "Yellow" and Blue. Green is a secondary color. Yellow is a primary one! Thanks for your awesome content
@@CullenKelly can’t wait to watch it. Thanks 🙏
What IDT should I use if I shot on a Sony A7SIII Slog3 SGamut3Cine into ProRes Raw converted into Apple ProRes 444? Thanks
@@CullenKelly thanks 💪🏻
does it matter in which color space we color grade if the output/export is still rec 709? i’m trying to understand this concept better
@@CullenKelly i see, would you know what i would have to choose for ‘input transform’ since there is no ‘blackmagic design 6k film gen 5?’ i shot on bmpcc 6k pro. there’s other gen but not that one
I still concider myself as a beginner colorist. Should i be (would i benefit) working in ACES with slog(2/3) footage? Maybe a silly question but im learning 💪🤝
@@CullenKelly OK sir, I have been working in aces and learned a lot while doing it. But the term "scene referred" is somewhat blurry still. Should I correct my footage (WB, exposure, contrast) BEFORE I transform my slog footage into aces, or is the correct way : SLOG to ACES - correction - grading - OUTPUT transform?
Thanks!
at 3:09 you shrink the bigger gamut to a smaller one. Shouldn't the colors on the image to the right get less saturated? I'm confused
@@CullenKelly But in theory a bigger gamut has "bigger" (more saturated) colors, right? Doesn't the saturation of the newly mapped gamut depend on the rendering intent or mapping algorithm? I'm just asking to understand since I'm so deeply into learning everything color right now that stuff like that confuses me. What I see at 3:09 is a conversion from log and not a shrinkage in gamut, right? My display is capable of displaying 100% Adobe RGB and 96% of Rec2020, and going down to srgb/rec709 desaturates colors quite a bit. Thanks!
@@CullenKelly I'm on it. Luckily there are tools to do exactly that. I think color pipelines are more complex than most people think. It's not like "Rec709 = fine that's all there is to it" but there are so many variables like the EOTF/OETF, gamma, volumes, white point, several devices in between etc etc etc!
i have never understood ACES until i watch this video. other explain just spin me around the term " Academy color.. something" and left me empty.
Hey, when using ACES, my color wheels are all fucked up. When I'm adjusting LIFT for example not only is the "lift" being affected but so is the entire image when working in the aces color space?
Is that normal and when can I do if I don't like this?
Hard to pin point exactly what is happening without seeing your setup. Double check that the settings within your pipeline are correct.
A lift operation is a broad adjustment that will raise the black point while the white point remains anchored. So you may see some adjustments across the entire image. If you're looking for something more specific you could use the custom curves to isolate an operation to a specific tonal range!
@@CullenKelly my setup:
input ACES transform
LGGO
[...]
output ACES transform
Adjusting the lift on the LGGO node affects everything up until the mid-range and doesn't just "pull everything up".
As it's still in a non-linear workflow the LGGO works differently.
Can I still work in a display mode while grading INSIDE ACES?
Thx for your help :)
This is why you need a good voice and breathing rhythm to teach!
Kendall Roy teaches Davinci resolve
Why it has to be so complicateeeed 😒😒😒
@@CullenKelly iv been watching different videos on youtube and no one said "Listen, if u wanna color grade your videos on Davinci you have to do this .... First step...second...third...etc " how hard its to make a video like this 🙄😩😩
Very confusing. I have no idea what you are talking about.
Why is all this stuff so needlessly convoluted