Here is another easy fix for this issue (works in ACES but also in rec.709) -> right click on the clip in the color tab, then under CFL choose „LMT Neon Supression LUT“ and you should be good to go. If that is not enough just apply the same LUT to the FIRST Node of the Node tree. This has been implemented in Resolve since version 14 but is not widely known unfortunately. ✌🏻
I think Disney had this problem with the Obi-Wan show... The hues from the Lightsabers are nuclear like you show here, especially the blues. I do think it might have something to do with how they shot it as well, but it's crazy that this is happening on an industry-leading format.
That was a thing that really threw me off, lightsaber hues (and lasers in general) looked really ugly and cheap, but I don't think that was just an ACES issue, I think it also was an artistic choice, because you can see it in the treatment in a wide range of hues through the show, maybe they were trying to look like precuel lightsabers. For example, I really loved how Steve Jedlin treated lightsaber hues, exposure and flares in The Last Jedi, really beautiful stuff there.
Switched to ACES after the first time you covered it and haven't gone back. It works extremely well with Canon Raw footage. The work flow is much easier and more efficient. Thank you for sharing your knowledge bro.
ACES make the color conversion more simple, especialy with software like substance painter and Blender with ACES CG for the textures we can also import open EXR converted video footage from da vinci resolve and also export the rendering of Blender with an ACES 2065 color profile by overiding the color output.
Question when I set Aces at the timeline or node level it destroys my footage. It all blown out white, what you can see is blue, and extremely contrasted. And nothing I do fixes it
From a stills background and still new to davinici after dumping premiere for performance issues on pc. I’m very comfortable with color from a stills pov and I think this has been an advantage for me to some degree. I haven’t been having this problem. I shoot with z-cam and I like to mimic the arri c log 3 colors. Here’s what I do and please let me know if I’m doing something wrong or counter productive. My color management is set to aces cct 1.3. I don’t change input OR output. Also using AP0 (because there’s a dctl for zcam). When I go to color I add two nodes. On the first (which is actually the second) node I put an aces transform and change the input and output to arri log. On the third node I use color space transform and output to 709. I color correct the actual first Node then make exposure changes and keys etc after the second node and do everything between this node and the last node. This has been working for me and giving me lots of response in the sliders. Did I stumble upon a workaround or am I just changing my monitoring?
@@theqazman but the ideia of Aces is that when you share footage all see the exact same colors right? So by having to change settings for each color to fix the image, dosent it work the same as old workflows?
If I have a calibrated monitor in a controlled lighting studio, will an uncalibrated monitor next to it to monitor the scopes with affect what I see on the calibrated screen? As I understand it, any light can affect what you see on your calibrated screen. Does that include the light coming from an uncalibrated monitor next to the calibrated one?
its becase the ari LogC collor space is larger than ACES! so you get clipping on extreme color output! that's why you need compression, but no other color space is as large so its only an Arri issue as far as I'm aware
I have the problem that i don´t have the ACES Input Transform option. I´m on the newest Davinci Studio Version and working with 6k Pro Footage. Any suggestions?
When grading in access I keep seeing light sky blue color in the highlights when I use the color wheels and the contrast looks weird. It's like the only thing that works nicely is the global wheel. Can you explain why?
Hi, thanks for the effort you put in your video's! I have a question, and it really makes me go crazy. I'm now using Aces color management but i realize that it doesn't recognize the alpha channel of the GFX i have from my client. What do i do wrong? thx! :)
By the way DJI Phantom 4 doesn't support Apple ProRes and I see that your footage is in Apple ProRes 422 format. How it possible ...!!!🙃 Is something wrong ?
Qazi, I get funny /strange results when applying a film LUT when choosing ACES vs Davinci's color space. Actually when applying the glow, too. Can you suspect what I must be doing wrong?
Thanks for the ACES tip. I've had a similar situation with neon colors in my footages. Another workaround for non Aces people, is by using Gamut limit ofx and set the current gamut/gamma options, then limit it to P3-D60. Qazi how is your bmpcc6k working for you so far?
So good!!! But, starting from this point, is it possible to put a lut afterwards? and another point is, would the contrast or color Wheels be applied in a node before Aces Transform?
I always try to use professional color correction in my TH-cam videos, but it takes so much time (8 hours per 153 scenes on average). Any tips on how I can speed up this process?🙃
Hey Qazi, thanks for your knowledge. I have a question: I see that in some tutorials you use Color Space Transform to move from Log to Rec.709. However, there are other videos in which you set the Colour Space / Gamma and use a managed timeline. What is the rationale between used a managed timeline vs CST? Are there pros/cons to each approach? Thanks!
Just seen a tutorial from Cullen that answers this. I will do my best to explain. When coloring multiple cameras in one project or timeline you will do multiple conversions vs when working on a project that was shot on one camera. There is also times when you do multiple conversions on individual clips for balance, and then proceed to convert for the look on the timeline as a whole( for example, print emulation).
Another awesome one ! I was wondering, for DJI and other non supported cameras, that are supported by CST, would it be correct to do a CST before the ACES transform, going from original colorspace (say DJI) to something supported by ACES (ex: Arri) ?
@@theqazman Good to know ! I'll compare ACES and DWG workflows on my next documentary (since there will be multiple cameras used) and if ACES looks better then I'll run with it :)
Man, BOMB as always!! Thank you! BTW What did you do to your talking head setup?? Is that a different camera or all of a sudden my screen looks so much better? hahha
Any change you can help with getting my grade to look the same exporting from Resolve via the m1mac. Probably the most frustrating thing Iv come across. I want to get involved with your training programs but it all seems a waste when I can't ghett things to look the same after exporting. Ive got it close with surge settings but there a still differences. Im on the free version of Resolve because I can't justify the purchase because if this problem. Exports look 99.9% when using Premiere but would love to move away from Adobe
I've had exporting issues with my 2018 MacBook Pro as well. What solved it for me is in project settings, color management- Color science: DaVinci YRGB Color Managed. Deselect automatic color management. Color Processing Mode: HDR DaVinci Wide Gamut Intermediate. Output Color Space: Rec. 709-A. In addition, under preferences, select "use Mac display color profiles" and "automatically tag Rec. 709 as Rec. 709-A." I typically export with h.265. This has fixed my gamma and color shift with exporting. Confirmed by the 1-1-1 color profile when viewing info in Quicktime. To work with ACES, I right click, select "bypass color management" on every clip to go back to the log. To start the grade, I add an ACES transform node to do the proper RAW conversion, while also working in ACES. The node will stay at the end of the node tree. This all should be doable in the free version. Hope this helps!
@@gregrubbert Thank you so much for taking the time to write this out! Im currently using sRGB but will most definitely try 709-A and then export in 265 as you've suggested. I'm currently exporting in 264.
because when working on a bigger project with vfx, turnovers from other departments and facilities etc, you don‘t only work inside Resolve. ACES is for streamlining the colour pipeline throughout an entire project into a single standard. btw, he mentions this in the intro ;) but, as long as you do all finishing inside Resolve, wide gamut is actually better.
@@cuttercarlo547 Let's say I'm working with Arri log footage and I need to composite a CG plate over it. I render the CG plate in ACES, then in Resolve I set the timeline color management to Davinci Wide Gamut, set the input color space of the clip to Arri (get converted perfectly no problems like ACES) and set the CG plate input to ACES...
@@alexhydron all good as long as you are the one having control over the entire pipeline. :) ACES just helps to prevent errors in colour management when dealing with a lot of different departments and it makes sure the footage is handled without wrong converting and looks the same on all tools being used. normally at least the adobe / after effects staff screws it up big time at one point... 😁 and today the ACES workflow is pretty much mandatory when delivering to the bigger studios. E.g. Netflix require it since 2019 at least, Amazon as well
@@cuttercarlo547 I see, having a standardized color space is definitely awesome, but I hope the next version of ACES addresses highlights artifacts better, I'm not a big fan of workarounds 😅
@@alexhydron it‘s not that much of a thing, the pros are so much bigger than the cons for quality and Lut handling. before 1.3 we just used a colour compressor node to get rid of the led artifacts, no big deal. the only thing that still annoys me, is that the colour wheels don‘t work like in a non-linear colourspace, and using printer lights, which you will use a lot in aces, often is just not accurate enough. that‘s why lot of the „big players“ like Walter Volpatto e.g. refuse to work in aces
Hey dude, just getting into grading. I mostly shoot with a drone, it would be epic if you could do drone footage since it is a different type of challenge. Usually the cameras not super duper quality (although things are moving) we shoot from far sometimes, many different details, colours etc etc I find it very hard to grade both LOG and normal footage. Input from the master would be appreciated 😁 or even a dedicated course!
Hey Qazi! 🔥Is there any reason to start implementing ACES over what we've all learned with CST other than being compliant with the Academy? Or is it just another way to get to the same end look essentially? I film mostly Weddings with the BMPCC6K. Thanks
Unless you're working with a CGI department and a big production where it involves a lot of people working on the project (because as he said in the beggining everyone has to see the same thing in big productions) otherwise you're fine with davinci color managed :3
Seems like you somehow find a way to make videos relevant to what I am currently addressing! That talent. Although, in my case this issues happens after using CST. I get the weird artifacts of saturation on hot, saturated parts of the images like in your video. Doesn't happen often but when it does, it's very hard to get rid of. Played with all the gamut and tone mapping settings the CST effect has to offer but to no avail. Turned off all other nodes too. Any recommendations?
I usually love your videos, but this was a pure waste of time. You made a 18 minutes video that can be summed up in the following: -ACES is a video standard (you don't even go into detail why - e.g. linear for VFX) -ACES had color artifacting due to larger camera color spaces than ACES provides -new "Gamut Compress Type" option either on auto or manual fixes that Everyone who used ACES before knew the issue, everyone who hasn't worked with it yet doesn't need the full explanation since they can avoid it with a click of a button.
Qazi! You tha man but this video just left the audience more confused. Just show the best way. We know theres more than one way to skin a cat. You were all over the place! Much love tho 😊😊
@@theqazman like right now again , yesterday I did everything I tried to go inside every setting , and right now i see you again .. I’m tired I will download davinci and try to to colorgrade
Watch the FREE 1-hour Color Grading Workshop:
waqasqazi.com/secrets-to-grading-like-a-pro
Here is another easy fix for this issue (works in ACES but also in rec.709) -> right click on the clip in the color tab, then under CFL choose „LMT Neon Supression LUT“ and you should be good to go. If that is not enough just apply the same LUT to the FIRST Node of the Node tree. This has been implemented in Resolve since version 14 but is not widely known unfortunately. ✌🏻
Correct 👍
Your efforts for helping davinci users are insane❤ thank you thousand times 🙏.
I think Disney had this problem with the Obi-Wan show... The hues from the Lightsabers are nuclear like you show here, especially the blues. I do think it might have something to do with how they shot it as well, but it's crazy that this is happening on an industry-leading format.
It's nuts isn't it.
That was a thing that really threw me off, lightsaber hues (and lasers in general) looked really ugly and cheap, but I don't think that was just an ACES issue, I think it also was an artistic choice, because you can see it in the treatment in a wide range of hues through the show, maybe they were trying to look like precuel lightsabers. For example, I really loved how Steve Jedlin treated lightsaber hues, exposure and flares in The Last Jedi, really beautiful stuff there.
Switched to ACES after the first time you covered it and haven't gone back. It works extremely well with Canon Raw footage. The work flow is much easier and more efficient. Thank you for sharing your knowledge bro.
Happy to hear that and of course bro. ♥️
ACES make the color conversion more simple, especialy with software like substance painter and Blender with ACES CG for the textures we can also import open EXR converted video footage from da vinci resolve and also export the rendering of Blender with an ACES 2065 color profile by overiding the color output.
Question when I set Aces at the timeline or node level it destroys my footage. It all blown out white, what you can see is blue, and extremely contrasted. And nothing I do fixes it
From a stills background and still new to davinici after dumping premiere for performance issues on pc. I’m very comfortable with color from a stills pov and I think this has been an advantage for me to some degree.
I haven’t been having this problem. I shoot with z-cam and I like to mimic the arri c log 3 colors. Here’s what I do and please let me know if I’m doing something wrong or counter productive.
My color management is set to aces cct 1.3.
I don’t change input OR output. Also using AP0 (because there’s a dctl for zcam).
When I go to color I add two nodes. On the first (which is actually the second) node I put an aces transform and change the input and output to arri log. On the third node I use color space transform and output to 709. I color correct the actual first Node then make exposure changes and keys etc after the second node and do everything between this node and the last node. This has been working for me and giving me lots of response in the sliders. Did I stumble upon a workaround or am I just changing my monitoring?
Whats the point of ACES if you have to manually convert colors? This will still give pipeline errors.
For the reasons I explained in the video and no it won't.
@@theqazman but the ideia of Aces is that when you share footage all see the exact same colors right? So by having to change settings for each color to fix the image, dosent it work the same as old workflows?
It's much more complicated than that. I have a sub module in my masterclass where I got in depth and explain it with examples.
there is a LMT Neon Supression on the LUT to supress the neon effect of the Aces
Was waiting for this ACES update video :D !
I gotchu. 😀
If I have a calibrated monitor in a controlled lighting studio, will an uncalibrated monitor next to it to monitor the scopes with affect what I see on the calibrated screen? As I understand it, any light can affect what you see on your calibrated screen. Does that include the light coming from an uncalibrated monitor next to the calibrated one?
its becase the ari LogC collor space is larger than ACES! so you get clipping on extreme color output! that's why you need compression, but no other color space is as large so its only an Arri issue as far as I'm aware
how normaly you edit color, first color and than cut and edit video or first all edit and than color?
should i use ACES transform upstream or downstream or both like Davinci wide gamut?
I have the problem that i don´t have the ACES Input Transform option. I´m on the newest Davinci Studio Version and working with 6k Pro Footage. Any suggestions?
When grading in access I keep seeing light sky blue color in the highlights when I use the color wheels and the contrast looks weird. It's like the only thing that works nicely is the global wheel. Can you explain why?
I always learn new things from Qazi- Thanks for that
Hi, thanks for the effort you put in your video's! I have a question, and it really makes me go crazy. I'm now using Aces color management but i realize that it doesn't recognize the alpha channel of the GFX i have from my client. What do i do wrong? thx! :)
By the way DJI Phantom 4 doesn't support Apple ProRes and I see that your footage is in Apple ProRes 422 format. How it possible ...!!!🙃 Is something wrong ?
Qazi, I get funny /strange results when applying a film LUT when choosing ACES vs Davinci's color space. Actually when applying the glow, too. Can you suspect what I must be doing wrong?
What camera and profile do you use to make your videos?? ej, this video
Thanks for your video!! Can u share how to grade sony slog2/3 ?plz🙏
Can you please compare Leeming LUT vs Phantom LUT and see how well or bad they work? thanks
Waqas! I NEED your opinion on a video fix, pleaseeeeee 🙏
Thanks for the ACES tip. I've had a similar situation with neon colors in my footages. Another workaround for non Aces people, is by using Gamut limit ofx and set the current gamut/gamma options, then limit it to P3-D60. Qazi how is your bmpcc6k working for you so far?
Sold that ages ago bro.
So good!!! But, starting from this point, is it possible to put a lut afterwards? and another point is, would the contrast or color Wheels be applied in a node before Aces Transform?
I always try to use professional color correction in my TH-cam videos, but it takes so much time (8 hours per 153 scenes on average). Any tips on how I can speed up this process?🙃
Hey Qazi, thanks for your knowledge. I have a question:
I see that in some tutorials you use Color Space Transform to move from Log to Rec.709. However, there are other videos in which you set the Colour Space / Gamma and use a managed timeline. What is the rationale between used a managed timeline vs CST? Are there pros/cons to each approach?
Thanks!
Just seen a tutorial from Cullen that answers this. I will do my best to explain. When coloring multiple cameras in one project or timeline you will do multiple conversions vs when working on a project that was shot on one camera. There is also times when you do multiple conversions on individual clips for balance, and then proceed to convert for the look on the timeline as a whole( for example, print emulation).
Another awesome one ! I was wondering, for DJI and other non supported cameras, that are supported by CST, would it be correct to do a CST before the ACES transform, going from original colorspace (say DJI) to something supported by ACES (ex: Arri) ?
That's exactly right.
@@theqazman Good to know ! I'll compare ACES and DWG workflows on my next documentary (since there will be multiple cameras used) and if ACES looks better then I'll run with it :)
Thanx Qazy! This is so much good news!
Would you recommend using ACES 1.3 project-based if I don't have any problems? Or would you just go with the nodes?
Man, BOMB as always!! Thank you! BTW What did you do to your talking head setup?? Is that a different camera or all of a sudden my screen looks so much better? hahha
Haha. Thank you bro and yes I have sold my c500 mkii and switched to Sony A7iv. This was one of the easiest grades I have done and turned out great.
previously I would use a gamut limiter node to fix kind of problem
Any change you can help with getting my grade to look the same exporting from Resolve via the m1mac. Probably the most frustrating thing Iv come across. I want to get involved with your training programs but it all seems a waste when I can't ghett things to look the same after exporting. Ive got it close with surge settings but there a still differences. Im on the free version of Resolve because I can't justify the purchase because if this problem. Exports look 99.9% when using Premiere but would love to move away from Adobe
Watch my free training. I have a gamma fix in there.
I've had exporting issues with my 2018 MacBook Pro as well. What solved it for me is in project settings, color management- Color science: DaVinci YRGB Color Managed. Deselect automatic color management. Color Processing Mode: HDR DaVinci Wide Gamut Intermediate. Output Color Space: Rec. 709-A.
In addition, under preferences, select "use Mac display color profiles" and "automatically tag Rec. 709 as Rec. 709-A."
I typically export with h.265. This has fixed my gamma and color shift with exporting. Confirmed by the 1-1-1 color profile when viewing info in Quicktime.
To work with ACES, I right click, select "bypass color management" on every clip to go back to the log. To start the grade, I add an ACES transform node to do the proper RAW conversion, while also working in ACES. The node will stay at the end of the node tree.
This all should be doable in the free version. Hope this helps!
@@gregrubbert Thank you so much for taking the time to write this out! Im currently using sRGB but will most definitely try 709-A and then export in 265 as you've suggested. I'm currently exporting in 264.
Excuse me, do I have Chinese subtitles if I buy a 900 dollar course? Because I'm Chinese, I'm afraid I can't understand the course
Wonderful preface. Thank you, my dear.
Yes Qazi, I'm still on Resolve 17 and have ACES 1.3
Good to know
Hey Qazi, do you have anything on color grading canon (more specifically R5) footage? Thanks 👍
Why not just use Davinci Wide Gamut? it works perfectly without any hastle...
because when working on a bigger project with vfx, turnovers from other departments and facilities etc, you don‘t only work inside Resolve. ACES is for streamlining the colour pipeline throughout an entire project into a single standard.
btw, he mentions this in the intro ;)
but, as long as you do all finishing inside Resolve, wide gamut is actually better.
@@cuttercarlo547 Let's say I'm working with Arri log footage and I need to composite a CG plate over it. I render the CG plate in ACES, then in Resolve I set the timeline color management to Davinci Wide Gamut, set the input color space of the clip to Arri (get converted perfectly no problems like ACES) and set the CG plate input to ACES...
@@alexhydron all good as long as you are the one having control over the entire pipeline. :)
ACES just helps to prevent errors in colour management when dealing with a lot of different departments and it makes sure the footage is handled without wrong converting and looks the same on all tools being used. normally at least the adobe / after effects staff screws it up big time at one point... 😁
and today the ACES workflow is pretty much mandatory when delivering to the bigger studios. E.g. Netflix require it since 2019 at least, Amazon as well
@@cuttercarlo547 I see, having a standardized color space is definitely awesome, but I hope the next version of ACES addresses highlights artifacts better, I'm not a big fan of workarounds 😅
@@alexhydron it‘s not that much of a thing, the pros are so much bigger than the cons for quality and Lut handling. before 1.3 we just used a colour compressor node to get rid of the led artifacts, no big deal. the only thing that still annoys me, is that the colour wheels don‘t work like in a non-linear colourspace, and using printer lights, which you will use a lot in aces, often is just not accurate enough. that‘s why lot of the „big players“ like Walter Volpatto e.g. refuse to work in aces
Thank you Qazi - you are the best.
Omg! You helped me a lot
Hey dude, just getting into grading.
I mostly shoot with a drone, it would be epic if you could do drone footage since it is a different type of challenge. Usually the cameras not super duper quality (although things are moving) we shoot from far sometimes, many different details, colours etc etc I find it very hard to grade both LOG and normal footage.
Input from the master would be appreciated 😁 or even a dedicated course!
Hey Qazi! 🔥Is there any reason to start implementing ACES over what we've all learned with CST other than being compliant with the Academy? Or is it just another way to get to the same end look essentially? I film mostly Weddings with the BMPCC6K. Thanks
Unless you're working with a CGI department and a big production where it involves a lot of people working on the project (because as he said in the beggining everyone has to see the same thing in big productions) otherwise you're fine with davinci color managed :3
use gamut compression in cst
Hey Quasi! Yet again another epic tutorial. Quick question: would you do your grade before the aces transform node or after?
after the Acescct but before the rec 709.
Great info. Thank you
Seems like you somehow find a way to make videos relevant to what I am currently addressing! That talent. Although, in my case this issues happens after using CST. I get the weird artifacts of saturation on hot, saturated parts of the images like in your video. Doesn't happen often but when it does, it's very hard to get rid of. Played with all the gamut and tone mapping settings the CST effect has to offer but to no avail. Turned off all other nodes too. Any recommendations?
I have videos in my masterclass that help you with that particular issue.
@@theqazman when I get the funds, I’ll have to get it 👍🏾
Good work ... buddy
Legend 😍
Good info
This is the super helpful.
Oh really nice one
#jiggerypokery sounds like a new merch drop in the making.
Super!
Great sir i respect you ❤️❤️
davinci should give you something
I usually love your videos, but this was a pure waste of time. You made a 18 minutes video that can be summed up in the following:
-ACES is a video standard (you don't even go into detail why - e.g. linear for VFX)
-ACES had color artifacting due to larger camera color spaces than ACES provides
-new "Gamut Compress Type" option either on auto or manual fixes that
Everyone who used ACES before knew the issue, everyone who hasn't worked with it yet doesn't need the full explanation since they can avoid it with a click of a button.
🔥
Qazi! You tha man but this video just left the audience more confused. Just show the best way. We know theres more than one way to skin a cat. You were all over the place! Much love tho 😊😊
Try watching the video at normal speed buddy. 2x ain't gonna cut it with me. 😂
Love you..
I am from Bangladesh..
💪👍💪
Haha 8bit super nintendo 😂
Bro seriously I’m tired of your add , I keep telling TH-cam I don’t want to see your face but you keep putting money , I don’t want to see your course
You should sue TH-cam. 😀
@@theqazman like right now again , yesterday I did everything I tried to go inside every setting , and right now i see you again .. I’m tired I will download davinci and try to to colorgrade