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iif ACES workflow, thoughts?
Just finished working on a feature using SONY F3 S-LOG cameras. We recorded to Cindecks in ProRes4444 and also uncompressed. S-LOG uses wide color space, There has been talk about up converting the files from 10-bit to 14-bit to utilize the additional information contained within the S-LOG files.
If I use Glue Tools and make 16-bit DPX files of the cut will that give me the proper info or is iif ACES a new color space much like P3 or 709? Any help would be awesome.
Thank you in advance,
Jonny Revolt
Jonny Revolt
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2 Replies
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If you’re talking about wide color space you’re talking about S-gamut. I don’t believe this is supported on an F3. Going to bigger files just means going to bigger files. You can’t create information that isn’t there in the first place. You don’t “gain” anything by doing a conversion from 10 bits to 14 bits as a post process.
ACES has nothing to do with S-log or S-gamut directly. It is a theoretically unlimited color space that all existing camera output must be converted to via an input device transform, which is camera specific. It is then viewed through a standard renderer (the RRT) and a specific output device transform (ODT). There is an existing IDT for the F35, but that doesn’t necessarily make it accurate for the F3.
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Hi Mike
This post was a while back, but do you know where I could find an IDT for the F35?
And which platform could I use to implement the IDT for ACES workflow? Resolve? After Effects?Many Thanks
Justin
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