Yeah this may be difficult for beginners but hang in there! If you run into specific problems feel free to ask here.

There was a bug in Cinema that prevented the view transform from being applied to jpg images saved from the picture viewer, but I thought it had been fixed. What version of Cinema are you using?

@@igobyzak I'm using the latest version of c4d + rs.

Chanelle! I'm glad it helped! 🙌💙

Thanks! Yeah it's a nice effect!

Yeah it's a common issue with brand accurate colors being changed by the tone mapping that's happening when going from high dynamic range ACEScg to low dynamic range sRGB. It isn't really an oversight or a lack of accuracy, it's just a situation where you can't have it all. It's either you tonemap and colors and intensity of the original "brand" colors change or you don't tonemap. Can't have both unfortunately.

@@igobyzakI've realized that applying an inverted color profile works in those situations, but it's a good idea to reduce the highlights to prevent them from blowing out in your renders. I think a lot of people still don't know how to deal with this new color management and we find a lot of distorted information.

If you're using the new nodes, you'd want a "Value" node to get a float.

Thanks!

You can add color space transforms and go into Davinci Wide Gamut and Davinci Intermediate, there would be nothing wrong with doing that, but there is no benefit in doing this. Just transforming into a wider color gamut does not increase the colors in our footage or renders. And because, currently, there are no display color spaces that can display all the colors in either ACEScg or Davinci Wide Gamut (humans can't even see all the colors in these wide gamuts) the colors are still limited by our output display space. So taking an ACEScg render, converting it into Davinci Wide Gamut, cranking up the saturation, would not give you any benefit because you still have to output to some display space. sRGB colors are only as saturated as sRGB colors. And P3 can only be as saturated as P3 colors allow. As far as clipping goes, you really shouldn't be clipping colors in either Davinci Wide Gamut or ACES; that's going to cause problems when it's time to export. We have gamut mapping and parametric gamut mapping with ACES transform nodes so we can adjust the way the colors are being "pulled in" from clipping. Again, no real benefit to using Davinci gamut and gamma. Also, because I'm using ACEScct for the color correcting, which is a log gamma curve, a lot like Davinci Intermediate, there's really no benefit do doing what you're saying in terms of the way the tools on the color page react. It's not as though we're trying to color grade in Linear gamma, which would be much less intuitive. The only reason I can think of transforming into Davinci Wide Gamut and Davinci Intermediate is to use a specific LUT that was designed to work in Davinci Wide Gamut instead of ACEScct. The LUT wouldn't be exactly the same, but it could be fine to use it this way.

Thanks for watching!

Thanks! Glad you found it helpful!

Thanks! Glad it helped!

You're welcome!!

Thanks!

Glad it helped!

Thanks so much!

My goal achieved! Thanks so much!

Not sure what the reason is for this. You can try setting the render speed in the deliver tab to something much lower than the default "Maximum" setting. Also, from the Color tab, you can add stills to the Gallery then export stills from the Gallery.

Much more robust tools in Fusion and especially Nuke compared to AE. The ability to use World Position Pass is huge. No such workflow for that in AE as far as I know. Plus the color grading tools in AE don't even come close to what Resolve offers.

Thanks, could this be a video idea to compare useful features of other compositora (conpared to AE)!? ;)

Thanks so much! 🙏

I'm not sure, I haven't done any speed comparisons. I think the voxel size of the fog volume would play a big part in render speed.

Because it's being tonemapped by the ACES Transform. Actual white in this scenario is reserved for glowing objects or very bright specular highlights, values above 1. It would be like a sheet of paper compared to an LED panel...the paper next to the LED panel would be closer to a light gray compared to the white of the LED light.

@@igobyzak thanks! I did it now while set the Display Color Space set to None

Haha, thanks! Glad you found it useful!

@@igobyzak Hey Zak I have a quick question, what do you do about LUTs? Do you just bake them into the image via Redshift then export? Or Do you have a workflow in Davinci?

@@loganpenciu7317 I love a good film emulation LUT! But I never bake them into the image via Redshift. That would clamp the high dynamic range and I don't want that. I apply my LUTs in Davinci Resolve. But it's important to know the LUTs you're using. Like what color space are they expecting as input, and what color space are they spitting back out. The LUTs I use are made for ACEScct , and return ACEScct gamma. So I just plug these into my node graph at the timeline level before my final ACES transform from ACEScct to sRGB.

@@igobyzak Thank you for the response! That makes sense. Can you point me in the direction of getting ACEScct LUTs? Or do you just convert them yourself?

Thanks so much! More in the works!

Thanks so much! Yeah I think it can add some nice spatial and color variations. Real light is really complex so the more ways we can grunge up our 3D lighting the better.

Thanks so much! Glad it helped!

Thanks so much! Glad you found it helpful! 🙌

It slipped through! I try to edit them all out.

Glad it helped!

Hey! Thanks so much!

Nice! Glad it helped!

Thank you so much!

It depends on what you're trying to achieve. You can use an Aces transform node in fusion, but what are you transforming to and why? Are you transforming to sRGB and exporting from Fusion? If so, that should work just fine. But if you're transforming to sRGB then going to the color tab for corrections then exporting through the deliver tab you may be applying incorrect transforms or applying double transforms. Hard to say without more details.

@@igobyzak Thank you for your reply.Using Aces transform node alone it works very well both in color tab and fusion tab like in your video. After setting color management in project settings, I connected an Aces transform node from ACEScct to sRGB in the color tab and it works fine too. Then I go to the fusion tab, connect a same setting Aces transform node after the MediaOut node, the color became very dark in the fusion viewport.Did I do something wrong?

Not giving up! Just been super busy! Thanks for your support, I really appreciate it!

I haven't really messed around too much with AgX but I know people seem to like it. One thing to remember though is that the text and reasoning surrounding AgX is based on the ACES 1.2 standard, before ACES implemented the gamut mapping option. I think before this happened, AgX provided a solid alternative to ACES, but I don't really think, in my work anyway, it's as necessary these days. We have more control over hue shifts and contrast with ACES now.

You're right, you're not able to save out AOVs with sRGB transformed applied. But this is a good thing! If AOVs are in sRGB gamma and not linear, adding them up would not give you your beauty pass. Only when the gamma is 1 (Linear) are we able to add up the separate channels and re-create what we see in our Redshift Renderview as our Beauty pass. You can think about it this way, let's say we have a very simple 5 AOV multipass EXR: Diffuse, Reflection, Refraction, GI, and Specular Highlights. We add all these passes together and we get our Linear beauty pass. Now we convert this linear gamma to sRGB and we get our final image. But, if we instead convert each pass from linear to sRGB and then add them all together we'd get 5 sRGB gamma curves applied and it would look crazy! And, yeah, unfortunately Photoshop is not well equipped to handle a 32bit ACES workflow. Maybe someday they'll update the program to make all of our lives easier, but for now I'd say do your ACES conversion and general grading in a program like After Effects or Resolve then export as a 16bit Tiff for final retouching and subtle color correction in Photoshop. Hope that helps!

@@igobyzak Thanks for your reply, Zak. It took me quite a few days, but I figure it out how to work ACES in 32 bits inside Photoshop. Now everything makes sense, I was going crazy.

HDR color grading and output gets a little tricky. The question is, do you want your HDR output to look exactly like your SDR (sRGB or Rec.709) grade? Or do you want your HDR output to take advantage of more colors and higher brightness value of the HDR format? In order to actually see proper HDR in Resolve, I believe you need a dedicated output signal to an HDR compatible monitor. A card like a Deck Link from Black Magic will send an untouched video signal directly to the monitor, bypassing the operating system's color management. This is really going to be important if you want to do a dedicated HDR grade on your render. Output settings are going to depend on the final destination of your render and what monitor you're using to grade your HDR output. If your dedicated HDR monitor is only capable of 1000nits, I don't believe you can accurately grade to an HDR format above this nit level. So you'd want your final output to be something like Rec.2020 color space with whatever gamma your final delivery would use (and your HDR monitor is displaying). I believe you've got a choice between HLG and PQ (ST2084). But I've never done any of this, so take all of this with a grain of salt.

@@igobyzak so I was thinking is to have it look same as srgb but with higher value/brightness range since render outputs 32 bit color depth and usual non HDR video just remaps these values to something it can display, my idea was to utilize this brightness data for HDR output. Also I don't really understand why you have to get specific hardware to display HDR content from PC. Media players have been doing it for years like VLC and klite codec pack and KZbin can play HDR on your PC with HDR display so why would davinci playback of HDR content require specific hardware?

I think it's just a simple HDR for the ambient lighting since most of the light is coming from the emission of the neon.

Thanks! This is something I need to look into again, but I think I preferred this method because I was having issues importing brand graphic sRGB images. It's pretty common in my work to have brand graphics overlay the animation and I think I was having trouble getting those sRGB colors to remain unchanged. But I should look into this workflow again; it's possible I was missing something.

I still prefer the old nodes

Honestly, I still haven't moved to the new nodes. I still prefer the old ones.