ACES 1.3 with Davinci Resolve 18 - NEW! and UPDATED! training

Check out our ACES Workflow for Film and TV Seminar
www.colour.training/aces-work...
Did you want to learn which is the right way how to use ACES for your color management inside Davinci Resolve in order to be able to work in a way that studios like Netflix, HBO or Disney require you to do?
In this new and updated video, I will take you through step-by-step instructions on how to use the latest version of ACES 1.3 with Davinci Resolve 18 to achieve that.
Welcome, to this tutorial, where I will be showing you how to correctly configure and use ACES 1.3 with Davinci Resolve 18.
I will give you step-by-step instructions on how to set Davinci in a project-based configuration scenario as well as node-based scenario for more advanced workflows. And if you are interested in learning more tricks and real-life scenarios for ACES workflows, than stay with us until the end, when I give you some more information on how you can go beyond the basics.
Let me give you a quick overview of what we are going to learn today:
How to setup Davinci in project based configuration to Work in ACES 1.3 and the main differences and improvements in comparison with previous ACES versions and why you should always use ACES 1.3
We are going to see how to setup Davinci to work in ACES in a node-based color-managed scenario for some advanced workflows and configurations.
What is Gamut compression and how to use it.
We will see how I make amazing looking film emulation LMTs for ACES and how we can export them for the rest of the production.
Then we will learn how to deliver ACESCG backplates for VFX or ACES 2065 backplates.
And for the end we will see how the VFX roundtripping works.

[@anthonyvfx]

omg you are the absolute best for explaining this, especially for us VFX peeps. Thank you!

[@videosbybanana6]

Lots of knowledge here. Thank you!

[@thatdirectorty]

Awesome stuff. Thanks for this tutorial.

[@user-ll9ln1uu4b]

Very intresting. Thanks s lot

[@SmartMeditationFilms]

Thank you!

[@mcneilbelle]

Excellent excellent excellent video. The only question I have is for the look designer plug-in how do I apply it when using the aces color management in the project settings instead of using look designer plugin in aces using the node based way

[@monocore]

that was amazing

[@koushikbhattacharya832]

Thank u sir♥️

[@K-Large]

Great tutorial.👏🏽👏🏽👏🏽 Can I use filmcovert in place of look designer in this workflow?

[@K-Large]

Great tutorial Sir! 👏🏽👏🏽👏🏽 Is it possible to use the new AGX in blender 4.0 and AGX in Davinci Resolve 18.6 Studio color management to achieve this workflow?

[@Meteotrance]

To simplified aces cg was build for anything that involve multi layered open exr render and also texture painting in photoshop or substance painter or designer or any painting program that can manage open color with aces like krita. On the other hand aces 2065 is for plate shoot on real camera with log and raw linear capability, it can work with rendered cgi that involve hdri background but not something output from a renderer.

[@Meteotrance]

I usualy using aces CG only for color texture in substance painter and designer to feed blender, it was also build for multi layer compositing on Nuke and Blender or natron, you feed only something that was rendered by CGI or paint by hand in substance painter or Photoshop instead of rgb, but open EXR aces 2065 was made for back plate and shot that came from arri or red or Sony log or raw camera, no cgi render.

[@christoph8605]

thanks for those explanations. It works well except in this particular situation: I had to mix ProRes422 clip and EXR. I created a Compound clip. But when I wanted to use the gallery and stills and the comparaison slider in the timeline of the compoud clip,, it shows a wrong colorspace for the ProRes clip (as a reference clip in the Gallery). Anyone has an idea of what happened? (I don't know if I'm clear, tell if not)

[@JUMADO]

The video I searched for the entire day.. thank you! But one question is still open for me, why do we use ACES AP1 instead of ACES AP1 when AP0 has a wider color range?

[@MrGdm2]

Hi there! 😃Thank you so much for making this awesome video. Question for you, Do you need to configure the project settings any differently when using the delta keyer in addition to the regular ACES workflow? I have some footage I’ve used the delta keyer with but when switching the project to the above Aces project settings I lose the delta keyer green screen removal. By that I mean is that the green screen remains (I have actors against a green screen I’m blending with CG footage). Anyone have any ideas? Do I need to change anything or perhaps something to look into? The solve I’ve applied is to use keep in the Davinci YRGB workspace and then apply an Aces Transform to the Acescg backplate 😅

[@Rohan.Shingade]

Hi Whenever using aces should be checked box of Mac display use in preference or not???

[@adeeboberoi5362]

Really great tutorial, just wanted to ask, what is the CDL node for? I see you did some primary corrections (shot matching) in this node.

[@elsanilaj6742]

CDL are nodes to import a CDL file that has been done by a DIT on set where they color corrected a specific scene based on the LUT they used on set!!

[@javajack-1]

@@elsanilaj6742 And stands for Color Decision List

[@diamondlabelfilms]

When grading in access I keep seeing light sky blue color in the highlights when I use the color wheels and the contrast looks weird. It's like the only thing that works nicely is the global wheel. Can you explain why?

[@ewomer100]

Is there a limitation in the free version, as when I have ACES do the color managing, ACES cc or ACES cct, I don't have the right click "ACES Input Transform" menu option.

[@TobbyLineStudios]

Hello, I have Nikon N-Log but cant find it in the colour management Aces Input Tranform dropdown, how can I put it there?

[@FranciscoAbreuMusic]

Thank so much you for this. One question. If I am doing color management at the project level, but still want to use a LMT node for Film emulation, where should that be positioned? Before any color grading nodes as in Pre Clip, or can I put it in Post Clip or Timeline position at the end ( maybe even use it with a custom mixer for more control on the overall final effect.)? Thank you again.

[@dadovalentic2091]

Just put it in the main clip color node tree, No need for pre-post since Look Designer works Scene Reffered,

[@FranciscoAbreuMusic]

@@dadovalentic2091 Thank you again.

[@caribemediaproductions2236]

Thank you, You hardly find these kind of advanced information. Question, in your workflow with the LMT look, if I need to export a LUT will it work for an editor who is just working in rec 709 (no color management)

[@ColourTraining]

As long as you export the whole pipeline with IDT and ODT

[@VideoPine]

What are the limitations of working in aces science compared to node based? And vice-versa? Do you only use gamut compression in the first aces transform node? In aces science workflow it's possible to wrap nodes with rec709 and return to aces, will that affect the output in anyway? Does the final output lose information or does it all return after the rec709 wrap? Is it possible to use aces transform to rec709 in the middle of a node based workflow without losing color information when you return to aces cct? How do you achieve really deep blacks in nodebased aces cct workflow? I noticed that the aces cct limits your blacks compared to cc, I used an aces transform rec709 in the middle of my node tree to affect the really dark parts of the image and then transform back to aces cg for final online pipeline. Why use ap01 instead of ap0? Aces CC seem to be able to achieve darker blacks, what are the differences/benefits between working in aces cct and cc? How do you output aces cg files in a aces color science managed workflow? Sorry for all the questions, and thank you for your feedback, Aces is a bit tricky and confusing to me.

[@mammifero]

CDL & LMT ? are abbreviations for ? thanks amazing video

[@dadovalentic2091]

Color decision list and look modification transform

[@VideoPine]

I wish someone would speak about how to get used to traditional Davinci tools and how they behave so strange in aces and davinci wide gamut color managed workflows. RGB offset and other tools behave so strange in aces compared to traditional rec709, what to do?

[@JDARRASVP]

I don't find the option "ACES Input Transform" to specify what is the camera color (LUT?)

[@2424rocket]

This video is amazing stuff… You’re blowing my mind… I’ve only worked in da Vinci color management… I will now start playing around with aces. My big question is… How the hell do you know all this? But let’s say I’m not working with Alexa or with Red… But just kind of a normal Sony camera with log… Do I still wanna work in Aces?

[@ColourTraining]

Alen, I have been doing this for more than 20 years and many things we had to invent years ago before they became a standard. ACES gives a specific look that is different than standard camera log so you should try and see which one you prefer

[@kmal16]

I'm a beginner at this, and coloring in the newer ACES color space just gives me a 'natural' pop to skin tones and color saturation that is slightly more muted in Davinci's color space, but admittedly Davinci YRGB is also very good and works better in some situations. But ACES just has this quality that allows me to really make colors pop with fewer clicks and nodes. I can't wait to use it with Look Designer 2.

[@ZodiacII]

How I use xite color chart in this setup, I try to use it after IDT but look so wrong. Please Help!!!!

[@Nueztoy]

Me emocioné, y nada que este es un anuncio para un plugin que no puedo pagar ni de chiste.

[@soorajkumarsingh1762]

I don't find the option "ACES Input Transform" please help.

[@K-Large]

Hello, do you have a direct link to install ACES1.3 in blender?

[@emiliavee]

Any idea why reds are looking way too over-saturated and contrasty with Aces? Especially if it's neon.

[@christopherreid1086]

I did not see the option "ACES Input Transform

[@Routhu_Joshi]

Hay! Thank you for the wonderful explanation. But I am facing an issue where my exports are shifting their Gamma and contrast in the Rendered video. please can you help solve this issue?

[@dadovalentic2091]

Just use aces and you won't have any shifts

[@Routhu_Joshi]

@@dadovalentic2091 Thank you for responding actually, I am working in ACES but the problem repeats!

[@antonarap]

There's no gamma shift you are exporting in the wrong color space (rec709 is not for computer monitors) or you have your GPU settings wrongs

[@antonarap]

Mmmm interesting. So instead of selecting ACES 2.2 we mow select 2.3! 🤔🤔🤔🤔

[@shueibdahir]

There is no gamma shift. It's simply QT interpreting the gamma Rec.709 uses which is gamma 2.4 as Gamma 1.96. My advice is to ignore QT and use VLC to judge your videos. If you need to send your clients a video and you know they'll use an apple device, export you video as Rec.709-A

[@william_chidube]

Would I be right to assume that for a 3D animation export, my ACES Input Transform should be set to ACEScg - CSC?

[@Meteotrance]

Yes it was build for that purpose especialy if you use multi layer compositing.

[@MarcoHdzCalvo]

🤘🏽

[@dgflame]

for CG export can we use acescg export in dpx instead of EXR, because of lots of graphic studios do not use EXR file

[@dadovalentic2091]

DPX are generally 10-bit which is not enough for ACEScg

[@kenzorman]

ACEScg ( and other linear or RAW colour spaces) must be a float format . DPX is a terrible floating point format, slow and heavy. EXR is a much more efficient float format However the main issue is that Graphic Studio tend to use Adobe AE . While Adobe AE is a great FX tool ... ACEScg is a pain to setup ( adobe doesn't help you and all the setting are buried ) and studios dont want to get involved with what they feel are needless complexities. I've kinda given up trying to ' convert ' people. Now I just give them the best quality in the easist format for their pipeline ... if it's sRGB prores thats what they get ... if it's ACEScg exr then thats cool too

[@Huttersvuur]

@@kenzorman Do you have a recommendation on how to approach an AcesCG workflow from After Effects to Resolve? Do you setup the Open Color IO and check the 'Preserve RGB box at the export page in AE?

[@eliaslimapro]

👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏

[@normie2022]

Ｐｒⓞм𝕠𝕤𝐌 😒