ACES implementation in Resolve – bugs

[Eric Johnson]

I recently had a similar experience on a RED/5D project, when using Soft Clipping.

RED/5D IDT
709 ODT

[Paul Provost]

Ok so it’s not just me. Good to know.

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[Robert Due]

How are you liking or rather, dealing with the fact that you can’t access the RED metadata when working in ACES?

I have only played around with a few RED shots and it’s a different beast! Wish you could adjust the ISO, exposure, etc.

Robert Due
Editor / Colorist
INDEPENDENT EDIT
DaVinci 9.1.1
OSX 10.7.5
MacPro 8-core 4,1 2.93 Ghz
8GB RAM
Nvidia GT120 GUI
Cubix Expander with 2 x GTX570 (CUDA 5.0.36)
Decklink Extreme3D+
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[Eric Johnson]

It was surprisingly nice, especially since the 5D and the RED stuff tended to react similarly, actual format restrictions aside… There were a couple instances where I thought it would be nice to have this control or the other, but on the whole I didn’t miss the RAW settings…

[Robert Due]

I still think it would be nice to have access to those Red settings. Maybe that could be in the next software upgrade?

Robert Due
Editor / Colorist
INDEPENDENT EDIT
DaVinci 9.1.1
OSX 10.7.5
MacPro 8-core 4,1 2.93 Ghz
8GB RAM
Nvidia GT120 GUI
Cubix Expander with 2 x GTX570 (CUDA 5.0.36)
Decklink Extreme3D+
Panny BT-LH1710P/ Panny BT-LH2600W
Tangent Wave

[Alexis Hurkman]

I believe the whole point of ACES is to convert image data into a color space with a gamut that’s large enough to contain all the information in the media, eliminating the need for specialized, format-specific controls.

R3D-specific controls are for adjusting how raw media is converted to a data format usable by an image processing application, the idea being that there is potentially more image data in the raw file then can be contained in, for example, the target Rec. 709 format, so these controls help you choose what part of the image data to emphasize, and let you play with the math of the conversion in different ways.

However, when using ACES, in theory the full data from each camera original file is converted without clipping into the huge gamut of ACES color space, using that camera’s IDT, which defines how image data from that camera is to be transformed into ACES space with the highest fidelity. In theory, the camera manufacturers control and create the IDT for their camera to provide the best data representation of their technology.

In short, the RED IDT is supposed to put every bit of an R3D file’s data into ACES space, so there’s no need to use RED controls, you can simply use the host grading applications ordinary controls as you would with any other format.

http://www.alexisvanhurkman.com | http://www.correctionforcolor.com

[Robert Due]

Alexis,
Thanks for the thorough explanation. It helped me understand ACES a lot more.

This is why I check out the Cow forums daily!!!

Robert Due
Editor / Colorist
INDEPENDENT EDIT
DaVinci 9.1.1
OSX 10.7.5
MacPro 8-core 4,1 2.93 Ghz
8GB RAM
Nvidia GT120 GUI
Cubix Expander with 2 x GTX570 (CUDA 5.0.36)
Decklink Extreme3D+
Panny BT-LH1710P/ Panny BT-LH2600W
Tangent Wave