Davinci ACES color space

[Kritsada Kaewmani]

Finally, i figured out that there are 2 types of ADX encoding, ADX10 and ADX16.
ADX10 is nearly the same as the DPX 10 bits log density range=2.046.
ADX16 has density range=8.191875 ( 4 times of ADX10 ).

The ADX LUTs in Resolve both IDT and ODT are ADX16.
I really hope that there will be ADX10 in the next version.

Thanks

Bangkok, Thailand

[Javier Sanchez]

That was great, no body reply me about Aces some month ago, and there is no info on the net about.

Regards
Javier Sanchez

[Kritsada Kaewmani]

I think the ACES/IIF is not new it has been used by people in need of HDR and Wide Gamut color space for a while.
RED CINE-X can transcode r3d files into OpenEXR format with the ACES color space option.
Many of VFX/Composite softwares support OpenEXR and ACES.
Resolve(TM) just added new color science named “DaVinci ACES” I wish i could have more information about it.
I want to know more about IDT/ODT where are they in the Resolve directories and how it looks like then i can modifiy them or make a new one. Unfortunately there are only few documents about Davinci ACES.

Bangkok, Thailand

[Joseph Owens]

[Kritsada Kaewmani] “how it looks like then i can modifiy them or make a new one. “

You probably don’t want to do that. Only the manufacturers know how to port their sensor data into the ACES colorspace, so IDT’s will come from them exclusively… As far as ODTs go, its somewhat the inverse, so only the display manufacturers will know how to re-map the data so that it will look right/calibrated on their displays, although the true advantage of all this is the consistent exposure values being easier to write into conventional display colorspaces. All this of course is of large benefit to a particular workflow — 4K 16-bit LOG RGB image sequences.

Unless I am reading this all wrong, Quicktime users are not going to find this workflow particularly useful, even if they get past the really big numbers that are part of the calculation, all in terms of data throughput, storage, and hardware costs. Can’t see it being appealing to those who balk at the price of a certified grade monitor, and ODTs may not be worth the price of admission for graphics display manufacturers.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Kritsada Kaewmani]

Thank you for reply
It’s been one year 🙂 I did some test ands found out pros/cons of grading in ACES color space on Resolve.
Conversion from other color spaces to/frome ACES is easy as far as we know the chromaticities of them. Unfortunatly grading in ACES on Resolve is not easy. It’s all about the work flow. For example if I finish a shot and render out into Rec709 I will not be able to put some of superimposed text or VFX elements and replace it into the original ACES timeline for re-grade. I have to render out to ACES but this creat anoter problem, many VFX artists did thier job in sRGB so i have to convert VFX elements into ACES. I tried to simplify this by using LUTs in the Resolve timeline but applying LUTs in the ACES mode is not the way to go. ACES is HDR and wide gamut but 3DLUTs are only 17,33 or 64 steps. Applying series of 3DLUTs can causes some artefacts. To meet flexibility and deadline i gave up using ACES for now.

[Paul Carlin]

The lack of responses is because the people who really understand this stuff are few and far between and earn six figures somewhere under a NDA.