-
Sony F55 & ACES
Hi,
I just got my hands on some F55 raw material from a preproduction camera. On a lark I set up ACES in 9.1 to see if I could tell a difference. I could, and I’m really impressed.
So far it appears the only way to go ACES with F65 or 55 material is if you have raw material.
I know with the SRW-9000 camera, there is an ACES IDT for S-Log based footage, and an IDT for S-Log2 material from the F65. I also know IDTs are developed for each camera/transport path.
I’d like to try the SRW-9000 S-Log2 IDT on S-Log2 XAVC F55 material, even as ill-advised as that may be. Is there a place I can find that? And if so, how do I even install it into Resolve? IDTs don’t appear to live anywhere close to the LUT folders.
Only being able to do ACES with raw media from Sony cameras seems to be a bummer, since it’s so good. I’d like to be able to use it more!
Best,
Nate WeaverNate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
8 Replies
-
The advantage of aces is being able to debayer into a defined and much wider colorspace. With footage that is already mapped out in the way slog is, this advantage is reduced. Even slog2 is narrower than what raw and aces support. So while I suppose it would technically be possible to have an IDT that transformed rastered slog into aces, it wouldn’t give you any advantage over the exciting workflow of applying a lut or curve, and grading before/after.
Work around to mix aces and non-aces would be to IDT as 709 and then curve to grade. But I’ve had issues in past with rrt messing with the overall look in past.
Colorist | Online Editor | Post Super | VFX Artist | BD Author
-
I guess I’m interested in this for 2 reasons:
1-I’d like to have the look of the ACES raw
2-It’s not always practical to shoot Sony raw, it’s pretty data heavy
So far the ACES raw is looking different to me than S-Log 2 with LUT applied. I’m attributing this to the specific toe and highlight rolloffs built into the RRT, and the negation of some Sony S-log highlight handling in the IDT. I think it looks fantastic.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
You could easily grade to suit, but some of this is simply that aces, and f55/65 raw represent a much wider range than what’s possible even with s-log2. Nice roll off may be because there is just much more info. That said, carefully grading with slog2 should get you the same feel. Even if you had an IDT (we don’t, and you can’t add idts yourself) it still wouldn’t behave the same as RAW. I’m afraid for some things in aces raw is just better.
Colorist | Online Editor | Post Super | VFX Artist | BD Author
-
The ACES IDTs are mathematical equation calculations our R&D team work out based on the camera sensor and matrix data supplied to us by the camera manufacturer or the Academy. You cant add a lut or matrix yourself so as Juan said, until we can add a S-Log2 IDT, use the Rec709 for those sources not specifically listed.
Peter
-
Hi Peter,
Ok, that sounds great, it sounds like a S-Log2 IDT is at least under consideration, and possible without Sony’s contribution.
I’ve noticed some other things, in particular Full Res debayering doesn’t seem to be working quite yet. I wanted to do a test 4K output. I can only get half-res.
Im guessing this is a by-product of a full-res F65 debayer being twice the raster of a full res F55 debayer? Maybe another update will get this going?
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
HI Nate, are you using an OpenCL GPU? The available VRAM might explain the half res debayer. It should be fine on a CUDA GPU.
Peter -
Ah yes, testing on the 17″ Macbook, only 1GB video ram. Completely makes sense. Thanks!
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
I kinda get Aces.. I think :-/
Whats all this IDT lark ? Any good places to read up on this new stuff?
ta
s
Reply to this Discussion! Login or Sign Up