The most powerful and surprising thing about ACES (for beginners)

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The color management video:
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[@LearnColorGrading]

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[@rahulmaan2862]

Thanks for simplifying a topic which is usually made very complicated by others. Appreciate it 🙏

[@TomasHradckyComposer]

Very helpful. I look forward to checking out the site. I have a feeling I will be learning a lot.

[@art__dealer]

Amazing! Thank you so much! It will help me in my new films ❤

[@DairyAirGunners]

Always helpful, thank you.

[@RideandRemember]

Very interesting. Thanks a million!

[@DNNS.Visuals]

ACES is a gamechanger for me. It works so much better in my workflow. Thank you!

[@SmartMeditationFilms]

Thank you!

[@PattayaBars]

very interesting thanks

[@Erik_001]

Thank you very much

[@CoopMusic247]

That's pretty cool all the science going into color. I love it.

[@CoopMusic247]

Now then, back to glitching up all my videos. lol

[@peternavanac9310]

Superb!

[@Coatsey007]

For me, that was one of your best videos yet, well done and thank you. Does davinci colour managed work in the same way?

[@chrisbogart687]

Perfect timing of this video for me showing ACES. I have been doing a lot of test clips with my new iPhone 15 ProMax shooting ProRes 422 Log. I have got some power grades and lots that convert to Aces and now I have some insight into how to use them and not avoid them. I also have some to DWG and it will be an interesting comparison for me to see where to venture next. Thanks for the articulate explanation and examples.

[@yazeee533]

How do you convert ProRes footage in your color space transfer,

[@chrisbogart687]

@@yazeee533 you go from ProRes to whatever you choose as your intermediate color space. The two variables are DWG and ACES and then you convert them to your output color space which is normally REC709

[@74737ali]

Thank u dear for the explanation, and if you can help people who have to color grading and correcting Gopro flat potages as cinematic look.

[@casperjonathan]

Thanks for the video Alex! I don't see this option though, is it only available in the Studio version of resolve?

[@flo1creative854]

However…I’m glad your passing this knowledge on to us learners

[@IoRisparmio]

This was amazing. Is there any use of this, for people not working with log footage?

[@michaelavrie]

It can make it easier to use the color page tools without breaking the image, just like if you used a color space transform to expand Rec709 footage into Davinci Wide Gamut, serial nodes after for your grade, then finish with a CST from DWG back to Rec709.

[@IoRisparmio]

Thanks@@michaelavrie

[@richardcliff3510]

Hi Jordan, great video. Really helps me understand the rationale for using ACES. What camera input should i use for GoPro flat footage? Many thanks, Richard

[@danvranic2306]

Sadly, GoPro's aren't ACES certified... Im in the same boat with all my Fuji stuff.

[@michaelavrie]

@@danvranic2306 if you're using flog/fgamut, there are a few community made options as well as one from Dehancer for ACES that works very well. But Fuji really should address it officially

[@JUMADO]

Getting more and more into color grading, that sounds very interesting! Unfortunately I hate working with a color managed workflow - I prefer CSTs. How would I set this up? In the project settings I set my timeline to ACEScct and my output to REC.709 Gamma 2.4. Then I group each Profile - in my example SLOG3 - I then apply a CST to the Pre-Group with Input Color Sony S-Gamut3.Cine and Gamma SLOG3 to Output ACES (AP1 or AP0??) and Gamma ACEScct in each clip grade - after the cst I make my adjustments and then the last node is another cst from ACES to Rec709. (Especially what Output Color Space? - Gamma I can choose ACEScct but do I choose ACES (AP1) or ACES (AP0) at the output?) And what are the differences between ACES vs ACEScc vs ACEScct vs ACEScg in the Timeline and Gamma Settings?

[@underalexander]

There's two color spaces: ACES AP0 and ACES AP1. AP1 is smaller, and has a differently aligned green primary, which makes it much better to handle than AP0. Then there are 3 transfer curves with ACES: linear (so no curve), cc (log curve) and cct (log curve with a toe). And then there are the various combinations: ACES 2065-1 = AP0 linear ACEScg = AP1 linear ACEScc = AP1 with cc curve ACEScct = AP1 with cct curve As a colorist you mostly want to work in ACEScct.

[@maxjax1417]

Quick question (maybe not so quick) for anyone who can help. I've used essentially every variable in CST transformation of Nraw footage in Resolve. Setting it up in the raw panel in REC 2020 and linear then doing a CST transform from that to Arri, then applying an arri lut works well. However, nothing looks as good as setting up the whole project in the project settings panel in ACES, Sony Raw input, REC 709 output. The colors just sync into place. It looks perfect. The quicktime export looks just like the Resolve window when I compare them, so it transforms well. Here's the hitch, when I bring it into KZbin, the video is always brighter, no matter what I do. Usually when uploading to youtube, I set the output to 709 A, which KZbin seems to like. When I do that, each visual matches - the Resolve window, the quicktime export, and the youtube window. Each match up perfectly. But you can't get 709A in the ACES export settings. Only when I use non managed settings or color managed settings do I get a 709A option, however the colors just don't look as good as ACES. So, long story short, my quicktime export from ACES matches Resolve's window, but the youtube upload does not. It's as if they raised the exposure by 2 stops. How do I get the KZbin window to match my quicktime export, since I want to stay in ACES? Thanks!

[@Zizos]

How does it compare to DWG?

[@Bo_Hazem]

Why not DVR Wide Gamut though? Gonna play with it. Thanks!

[@LearnColorGrading]

That will work too. I just happen to like the colors more when I use ACES.

[@Bo_Hazem]

@@LearnColorGrading Learned many crucial stuff from you already so gonna try this one as it adds a layer of safety.

[@FlyingAroundOz]

Color noob here, so this may be a stupid question. How do I find out what color space is used in things like mobile phone cameras? I have a Samsung S21+ and shoot in 4K.

[@michaelavrie]

It's gonna be Rec709. Unless you're using a special app or mode that lets you pick. If you're able to record true HDR videos then it could be Rec2020. Try playing with it and see what looks right.

[@RavikantRai21490]

I tried using ACES in a music video I shot, my first mv shoot, and it just destroyed the red end of the spectrum, and it makes sense because if you see the diagram of ACES and rec709 and DWG on the visible colour spectrum, it cuts off right around that red area and instead, what you get there is more noise compared to the Davinci Wide Gamut and just less richness in the red tones especially. The moment I switched to DWG, all that noise almost went away and my red tones became richer.

[@Pinionistus]

Was that ACES 1.3 with reference gamut compression or ACES 1.2 ?

[@RavikantRai21490]

@@Pinionistus ACES 1.3, yes. It felt like I am having to fight the footage, trying to introduce or amp the reds by a slight bit, worry about noise a bit more, etc. The moment I switched to DWG, it was a huge sigh of relief.

[@RavikantRai21490]

Now, admittedly, the noise issue can be solved with ACES by simply using ACEScc transform instead of ACEScct. But that still doesn't take care of the colour tone richness.

[@Meteotrance]

It clamp the highlight of neon or light show by default, thats a know issue by the Academy encoding society to restore that they made a LMT LUT that compensate the banding light issue, check thé lut with ACES neon supressor it should solve the problem.

[@RavikantRai21490]

@@Meteotrance So should I place this LMT at the end of the node tree? By right clicking and selecting "LUT" and then "ACES" and then "LMT ACES v0.1.1"?

[@andresacunaroldan]

Thanks. What's the difference between using ACES 1.0.3, 1.1, 1.2, 1.3 ?

[@michaelavrie]

I'm not an expert. They are very similar, but one big thing I found was that 1.3 (the latest) has fixed a bug related to out of gamut colors. When working with log footage from a Fuji camera, certain very hot colors would have artifacting you'd need to fix by desaturating them. The 1.3 version has fixed this problem

[@andresacunaroldan]

@@michaelavrie Thx!