Hey Cullen, just found you yesterday and feel that I have learned more from 3 of your vids than a year of watching other colourists, your calm, measured, clear and concise delivery while being incredibly informative, is also just so damm reassuring. Fantastic work here. Cheers, John
I've finally watched your series on ACEs, the three videos, and I must say I'm amazed at how little I knew. Thank god I suspected it, did some research and found your channel.
This is my 4th time watching through this series, always a great refresher/reset before I start a large grade project. Amazing tutorial! I've watched dozens of videos on ACES workflow and this is the best most practical summary out of anything I've found online. Changed my life!
@@CullenKelly Hey these tutorials were awesome and it’s really great to find someone on TH-cam who’s a real colorist who knows what they’re talking about!! I did run into one problem though. When doing the aces transform I can only find “CSC - ACEScct” instead of Just ACEScct like you had in the tutorial. Additionally I am getting an overly crunchy result that’s very different from when I simply just set up aces on a project level through the project settings. Any ideas what might be going wrong?
Your thoughts about Primaries and secondaries vs saturation are a revelation. I shoot a lot of wildlife often in snow. Getting this to look right is often a real challenge. I'm thinking much of my problems are because of this issue - that I never considered before. Thank you (again!) !
This series of tutorials is the best I've seen so far! Full of clear useful information that just makes sense. It is amazing to have such control over your color pipeline! Thanks a lot!!!!
Cullen, you are such a great teacher. Your knowldge and eloquence bring a much needed value to the teachings of Color. Thank you for creating this channel and sharing your knowledge. I've watched most of your videos in less than a month (since I just found it) and I'm so happy. I love your holistic approach to grading and your working ethos. Keep up the good work.
I came here after some BMD training and rest assured every video you put out will be watched and 99.9% liked. That's masterclass material. And also felt good to see that the way I waas thinking about grading is being validated by a professional. e.g. use as much as possible those color space aware tools.
This has been so useful, thanks so much. I've been grading my footage wrong for SO long. It only really occured to me when we upgraded to the Red V-Raptor VV and I was noticing some terrible banding and messy colours. Since watching this series I've switched to grading within ACES CCT and its totally transformed the way I work and how far I can push my R3D footage! Thank you!
Thank you so much Cullen - the photographic approach makes total sense! By the way, really appreciate no background music, great for better concentration on the fascinating material.
Wow, this tutorial has really got me thinking on new ways to improve! I just started learning how to edit in the last year and have been wanting to start coloring stylistically for our project. I can’t wait to apply these ideas!
Hey there. Thanks for this content. Fascinating stuff. After over a decade doing photography I made the leap to moving pictures. Got myself a Blackmagic-camera and Davinci Resolve. There is so much to learn. I just found your channel and this series is the first batch of videos I saw from you. Going to dive in to the other videos next. Thank you!
Excellent insight. Coming to video grading from a long career in retouching / cgi work. I've been colour grading still images for over 20 years in a colour managed environment using a colour managed workflow. For me this series really hammered out a meaningful approach to setting up my workflow that provides control, predictability, and efficiency. Excellent job here Cullen - thank you!
Wow... can't wait to try this out tomorrow. I will let you know how I progress. This was fantastic and thank you for taking the time to build out this tutorial.
Thanks for this - really helpful and and actually manages to clarify some of the stuff that a lot of people are talking about online - but few of which seem to understand.
Currently working through the Resolve Colorist Training and your videos and the last thing you said here is totally true... the more you learn, the more you realize you have yet to learn. Thank you for all of this incredible content.
I appreciate you take the time to make these vids - I've been tinkering with color grades for a few years now and through this series some things definitely started to click for me. Already my latest project looks WAY better using your clear and concise methodology. Thank you! 🙏
Thanks you so much for this series. I thought that ACES was the Witchcraft until i saw these videos. Very clearly and concisely explained. Really looking forward to future episodes. PS: Will the Grade School be a regular thing? Is it Live? If so, how will i hear about it in order to see it? Thanks again. Appreciated.
Excellent! Thanks for this Cullen. I set up my project settings and workflow as you laid out and it's amazing. The only issue I'm having is using the qualifier (though your method is a much better option, I'd still like it as a fall back tool). Anything I select for the qualifier prior to the ACES output node seems to select most of the image turning it grey as though I were working in LOG. This doesn't seem to be an issue for you in the video above. Input footage is 10-bit 4.2.2 v-log.
Hi Cullen, I discovered this channel yesterday, and I think you are wonderfully articulate in explaining these colour grading concepts, so I'd like to ask you a question: I've seen a lot of colourists (including yourself) choosing to use a log gamma as their working space. Could you elaborate why this choice is often made? To provide some personal context: I do a lot of VFX work, and we almost exclusively composite and perform corrections in linear, because my understanding is that (while our eyes work more like log, in that we percieve more shadow detail than highlight detail) this is how light works in the real world, and therefore digital tools are often designed to work in Linear because the mathematics are more straightforward when you can, for example, simply multiply the pixels in a shot by itself to raise the exposure. Often I've graded in Resolve using ACES AP0 Linear, because this makes the Gain wheel act like the ISO dial in-camera, in that it is a multiplier on the pixels where each number represents a doubling of the amount of light: 2.0 equals 1 stop, 4.0 equals 2 stops, 8.0 equals 3 stops, and 16.0 equals 4 stops; which I've personally verified by shooting bracking tests between ISO levels and raising the exposure on various cameras. So to bring the topic back around again - I understand that many colourists choose to work in log, and that ACEScc and ACEScct where created because colourists requested a log working space; however I don't understand why this is the case when Linear seems more efficient (in my view). Is it to do with a preference for how the tools operate, or does it affect tone mapping in some way, or is this a complex issue with multiple reasons? I'd love for you to elaborate on the concept of working gamma and how that effects the image!
Absolutely brilliant series! Thank you so much Cullen for your work on this channel. This really helps a lot! Totally new knowledge for me was this HDR pallet and the concept of working photographically. In terms of global exposure, color temperature adjustment and primary Lift, Gamma, Gain adjustment, do you now only work on HDR pallet and not use Primaries pallet at all? Thank you!
Hurray! After having watched your 3 ACES Videos I could rebuild my grading tree which was originally under Davinci YRGB and Arri LogC color space within a few minutes. Results appear even better. Only, performance of Davinci Resolve is suffering a bit.
@@CullenKelly Probably, it is the conversion into and back from ACES color space that eats some performance. Anyway, in the meantime, I completely changed from using V-Log on my S1H towards HLG which I edit in DR under DR color managed mode. This turned out to be great in many respects: - Colors even better than with V-Log - More headroom in the highlights - slightly less banding / blocking of colors when using massive grading in combination with DR film LUT for Kodak2383 - slightly less noise - RENDERING 3-4 TIMES FASTER compared to my V-Log grading tree (which is similar to my HLG tree)
Hey Cullen. Love all that you’re doing on here! I just ran into something the other day following your input & output transform workflow, and setting my timeline settings to ACEScct. For me, having the timeline set to ACEScct, and when I set my out to .709 from ACEScct, the chroma goes crazy on Resolves CIE Chromaticity scope looking like it’s doubled up or something. Any ideas on that? I love this workflow but don’t want to be doing anything wrong here. And the entire graph being filled with chroma on that scope seems off to me! It’s fine if I keep the timeline settings to rec.709(scene) but I love being able to use the HDR tools. That was very long winded. Thanks Cullen
Great series Cullen! If you're working in an Apple environment without an external calibrated SDI screen. Is it impossible to work in acescct? Because we have work in a 709.a timeline color space to see somewhat accurate colors displayed. Thank you so much for your time and diligence
Question for color temperature - is there a reason you don't use the camera raw panel to adjust the native white balance of the footage? I know this only works for raw footage but I am curious because I have found better results that way as it's not adding color on top of data but changing the footage settings. Or perhaps I am misunderstanding
When you are working in front of your IDT, like you were with clip #4, how is it that you can set your timeline to Aces cct when it has not been applied.
Thank you so much for the great tutorials! Really really neat. I love the new HDR controls, remind me of the fine tuning available in Assimilate Scratch. I dunno if you could answer this question.... Is there a difference between your method (grouping clips, adding the aces transform OpenFX) and just setting the entire project in the color managment tab (Project Settings) to ACES CCT ? (assuming all footage is the same camera )
thank you, you explained it well. but i have question. i set my project to acescct and re709 as output. my dji records in dlog or something similar which is not supported by acces so I disable color menagemet i grade it manually. but after i finish my movie i want to set my output to rec2100 hlg and export it. now, how aces will know what my dji footage was and how to make it convert it properly, along with other clips which are converted properly by aces earlier ?
Hi, Cullen! Thank you for this amazing and generous youtube channel. I've recently joined mixinglight and, searching more about you, I eneded up stumbling across your channel. One question: why do you apply your global look in the "timeline" level? In other words: why in a level after the individual clips grading and not before? Thank you again!
I notice that ACES has a slightly different white point definition ( 0.32168, 0.33767 vs 0.3127, 0.3290 (D65)) than all other D65 color spaces(Rec709, Rec2020, etc.) It's my understanding that Resolve's CST transforms the color space but not the white point. That being the case, when you use a non-color managed workflow in Resolve, you use a CST to move into the ACES color space, but, you don't use a chromatic adjustment plugin to correct the white point differences. Why not? Since ACES is only the timeline working color space, and you're delivering to a D65 compliant output, it doesn't matter?
Is it better to do the aces transformation in the nodes or through the project manager? What is the difference between them? Thank you for this amazing content.
Thank you very much for this series! How do you set your Color Science in the project settings of Davinci for the IDT - ODT by Node workflow? Should the Color Science be 'only' DaVinci YRGB (not color managed) and the Timeline Color Space set to ACEScct (same as output in the IDT)? And my final output is only set in the ODT node? Thank you!
Thanks. In order for HDR tools to work correctly, can we change the color space on Node level instead of Timeline level, and set it to ACES ? Would that limit our adjustments with regard to pure blacks in the footage? I see only two options on node level, ACES and ACES ap1.
@@CullenKelly Yes. I noticed a technique Qazi used: he sandwiched the grade between two CST nodes: IDT (Camera input Arri, Log C, output same as input, so he can have access to the dynamic range of Arri), ODT (Log C to Rec.709). Then, he changed the color space of the node after IDT to Davinci Wide Gamut (and Intermediate) as to give his printer lights a better range (It looked like his printer light adjustments would move a larger distance on the Waveform monitor in DWG color space). That's why I was curious about the difference between node-level color space and project level in your example.
Hi, brilliantly explained. I am using your way. Instead of setting ASEC in the program prefrences, I use ASEC tranform node. Everything has become much clearer and no problems with Fusion page and ACES. In Fusion I work on ACEScg rendered files. On the last node I use ACEScg - rec709 conversion. Then doing colour grading I use rec709 - ACEScct - here I insert the nodes with colour correction and finally ACEScct - rec709. Is this in your opinion the correct way.
@@CullenKelly One question. If I set conversion at the end of the fusion string, ACESsg - Rec709, and then in the colour tab - Rec709 - ACEScct. Doesn't this cause a loss of quality? First there is a conversion from wide system to narrow ACESsg - Rec709 and then from narrow to wide Rec709 - ACEScct. Maybe it is better to set ACEScg -ACEScct at the end of the work in fusion. This way we have the conversion ready to work with the colour tab. Or maybe it doesn't matter because all conversions retain full image information?
Excellent lesson! If you get iPhone footage shot in FilmicPro logV3 10bit, which input transform would you choose? Does it make sense to go from there to ACEScct and then back to 709?
Can you elaborate on how the Exposure tool differs from Offset? I'm not seeing any appreciable difference just testing it out on some clips here but it'd be nice to know what it's doing beneath the hood to better use it.
When you mention the degrees of kelvin a 7:06 do you mean every 1 unit change one the temp tool is equal to 1 kelvin in the real world. For example if my clip was 5000 kelvin and I slid the temp to 500, would it equal 5500?
Hi ! Very good tutorial, it is really helping me and friends on an ongoing project. We are having a problem, though. Due to horribly poor performances, we wanted to use proxies. Our footage is shot in log, so our cst is from log to ACEScc, but then obviously when we use proxies, the cst no longer matches and it impacts both playback and render, somehow (use proxy media unchecked ofc). So we have performance, but our workflow isn't good anymore. Do you have any workaround for using proxies on log footage and maintain a sustainable ACES workflow ?
@@CullenKelly Hi, thank you for answering ! We did just this, and caching our NR and other heavy nodes + using quarter resolution proxy mode (which I learned didn't use proxies) helped a lot with the performance ! We could finally grade a few complex shots without Resolve crashing haha ! Thanks again
Hey Cullen! Thank you for on amazing tutorial. I have a lot of questions but for now I just wonder two things. Does Luts work in ACES like before, and does it matter when on node tree you use luts? Hope u understood my questions.
@@CullenKelly Thank you so much I really appreciated what you doing. I´ve tried to creat a bleach bypass look in ACES but the colors looks bad, Im using a panasonic GH5. I red that the DC-GH5/GH5S does not support ACES. Is there any solution for us? Thank you again.
Hello Cullen, thank's so much for explanation. I have this problem. My Mac retina has a p3 screen. So when I use color default management (not managed) my output is Rec 709A so the final output is the same as the timeline. This method I use as you explained in Part 1 the aces transform with a node. The way you explain in this tutorial part 3 (color managed) when I have my timeline colorspace Aces than my output is not Rec 709A. Now my question, if I use the default color management and work with Aces transform nodes as explained in part1 and I do the grading in the middle node can I still use HDR color wheels. Or is this the wrong way. Hope to hear from you. By the way, I subscribed to your channel. Happy new year. Cheers Richard
I actually have a maybe stupid question: I've found a cheap GH5 and of course i"m discovering that if I want to edit 10 bit in Resolve I'll have to buy the Studio version,which I will eventually. In hte meantime, if I should 10 bit and transcode into 8 bit, to edit in the free Resolve edition, this is pointless, right? I might get a marginally better footage because it's shot in 10 bit,but because I transcode it I find myself editing 8 bit that will NOT have a 10 bit footage latitude. Am I correct?
Hi. Great series! When you switch your timeline color space from Rec709 to Aces cct, do you also need to turn off the output aces transform (cct back to rec709)? If I don't, my image gets very 'funky' and unusable. Am I missing something? Thanks.
@@CullenKelly Hi. Thanks for your response. Unfortunately not, all settings appear correct. I’ve done a 30 sec screen capture so you can see the setup and what happens when I change the color space in the management tab. Thanks. th-cam.com/video/SW_OxBHbHxk/w-d-xo.html
Has something changed in 17.2? I just tried following all the steps from videos 1-3 but when I try the color change in project settings everything looks really bad. I have to leave the project color space set to REC 709, if I do ACES cct then I have the weird color issue. Or maybe I'm doing something wrong?
@@CullenKelly Thank you so much! I wish TH-cam would let me send a photo so I could show you instead of try to describe it. Thank you so much for this. I was having a really hard time getting ACES, and for some reason your videos made it all click! I’ve been going back over some old footage and experimenting and that’s how I ran into this. I’ve probably watched the 3 part series 2 or 3 times through trying to figure out where I went wrong! Also something else I’ve been struggling with is understanding how I can get what I see color and gamma wise to be consistent with what it looks like when I export. Maybe you already have a video that explains that but if not it would be super helpful for me! Thanks again loving this channel and subscribed right away after I watched your ACES videos!
@@CullenKelly So I watched your livestream and it got me thinking. While trying to get my renders to look consistent from what I was seeing in DaVinci to my vimeo uploads I had seen some videos here on TH-cam telling me to turn on "
@@CullenKelly Lol, yes I don't know what happened there, maybe my post was too long? Basically I was having issues getting my output to match what I was seeing in Resolve so I did a search and found this video th-cam.com/video/f9a_jRWN7XU/w-d-xo.html During your livestream I started going back and messing with my settings and in that movie they said to go to preferences>General>and check "Use Mac display color profiles for viewers" When I tried following your ACES videos I had that checked. When I turned it off then everything worked like it did in your videos. So I've solved that problem, but now I'm curious about what that was doing, why it caused issues, and how I can get my output videos to match what I see in Resolve? Maybe it's addressed in your previous reply so I'll go check that out. You should definitely do something on this since you're a Mac user. Seems like there's lots of misinformation, or conflicting info on this. Thanks again for sharing your time and knowledge. You've jumped to the top of my TH-cam resources!
In regards to the section where you've set up your project as 'DaVinci YRGB': How would it differ if you chose 'DaVinci YRGB Wide Gamut' (again with Acescct as timeline) instead?
sir i find one thing that if i have some rec 709 footage and i convert into arri loc which is my working color space it looks clipped but that is not happen when i use ACES as my working color space...Thank u for solving my doubt sir ♥️
I do have a question tho. How does the "think photographycally" mentality live in the world of badly exposed shots, poor consistency and completely different cameras? I say this because I'm a filmmaker student and I usually offer my classmates to grade their projects for free just to get experience and it's a complete mess most of the time!
![일상 속 기분 좋음 [Proto disco meme]](http://i.ytimg.com/vi/DwmEIaZ7XGQ/mqdefault.jpg)
One of the best tutorial series I've ever seen. Clearly explained, loaded with good, useful information, and no fluff. Thank you!
I have enjoyed the journey as much as you have. Thanks for leading us through the ACES wilderness!
Hey Cullen, just found you yesterday and feel that I have learned more from 3 of your vids than a year of watching other colourists, your calm, measured, clear and concise delivery while being incredibly informative, is also just so damm reassuring. Fantastic work here.
Cheers, John
I've finally watched your series on ACEs, the three videos, and I must say I'm amazed at how little I knew. Thank god I suspected it, did some research and found your channel.
Thanks so much, pure quality content, no ego trips.
This is my 4th time watching through this series, always a great refresher/reset before I start a large grade project. Amazing tutorial! I've watched dozens of videos on ACES workflow and this is the best most practical summary out of anything I've found online. Changed my life!
Learning a lot here in a much organized and ideal way to effective color grading. More to come, please! Thank you Cullen.
@@CullenKelly Awesome! Can't wait to learn more from your channel.
@@CullenKelly Hey these tutorials were awesome and it’s really great to find someone on TH-cam who’s a real colorist who knows what they’re talking about!! I did run into one problem though. When doing the aces transform I can only find “CSC - ACEScct” instead of Just ACEScct like you had in the tutorial. Additionally I am getting an overly crunchy result that’s very different from when I simply just set up aces on a project level through the project settings. Any ideas what might be going wrong?
Your thoughts about Primaries and secondaries vs saturation are a revelation. I shoot a lot of wildlife often in snow. Getting this to look right is often a real challenge. I'm thinking much of my problems are because of this issue - that I never considered before. Thank you (again!) !
I am sooo glad I found this channel.
Man, you are incredible!
This series of tutorials is the best I've seen so far! Full of clear useful information that just makes sense. It is amazing to have such control over your color pipeline! Thanks a lot!!!!
Cullen, you are such a great teacher. Your knowldge and eloquence bring a much needed value to the teachings of Color. Thank you for creating this channel and sharing your knowledge. I've watched most of your videos in less than a month (since I just found it) and I'm so happy. I love your holistic approach to grading and your working ethos. Keep up the good work.
I came here after some BMD training and rest assured every video you put out will be watched and 99.9% liked. That's masterclass material. And also felt good to see that the way I waas thinking about grading is being validated by a professional. e.g. use as much as possible those color space aware tools.
This has been so useful, thanks so much. I've been grading my footage wrong for SO long. It only really occured to me when we upgraded to the Red V-Raptor VV and I was noticing some terrible banding and messy colours. Since watching this series I've switched to grading within ACES CCT and its totally transformed the way I work and how far I can push my R3D footage! Thank you!
Thank you so much Cullen - the photographic approach makes total sense! By the way, really appreciate no background music, great for better concentration on the fascinating material.
Wow, this tutorial has really got me thinking on new ways to improve! I just started learning how to edit in the last year and have been wanting to start coloring stylistically for our project. I can’t wait to apply these ideas!
Hey there. Thanks for this content. Fascinating stuff. After over a decade doing photography I made the leap to moving pictures. Got myself a Blackmagic-camera and Davinci Resolve. There is so much to learn. I just found your channel and this series is the first batch of videos I saw from you. Going to dive in to the other videos next. Thank you!
I've watched every part of this ACES workflow, and thank you so much!
very satisfying and simple explaining, thanks a lot for such a content
Excellent insight. Coming to video grading from a long career in retouching / cgi work. I've been colour grading still images for over 20 years in a colour managed environment using a colour managed workflow. For me this series really hammered out a meaningful approach to setting up my workflow that provides control, predictability, and efficiency. Excellent job here Cullen - thank you!
Wow... can't wait to try this out tomorrow. I will let you know how I progress. This was fantastic and thank you for taking the time to build out this tutorial.
Thanks for this - really helpful and and actually manages to clarify some of the stuff that a lot of people are talking about online - but few of which seem to understand.
Currently working through the Resolve Colorist Training and your videos and the last thing you said here is totally true... the more you learn, the more you realize you have yet to learn. Thank you for all of this incredible content.
I appreciate you take the time to make these vids - I've been tinkering with color grades for a few years now and through this series some things definitely started to click for me. Already my latest project looks WAY better using your clear and concise methodology. Thank you! 🙏
This is game-changing for me. Thank you for the clear and concise explanation. Looking forward to future vids.
Excellent series, very well explained many thanks for sharing Cullen !!!
Thanks you so much for this series. I thought that ACES was the Witchcraft until i saw these videos. Very clearly and concisely explained.
Really looking forward to future episodes.
PS: Will the Grade School be a regular thing? Is it Live? If so, how will i hear about it in order to see it?
Thanks again. Appreciated.
Cullen, I don't feel overwhelmed, I feel fucking enlightened 🤣. Awesome videos
Excellent! Thanks for this Cullen.
I set up my project settings and workflow as you laid out and it's amazing. The only issue I'm having is using the qualifier (though your method is a much better option, I'd still like it as a fall back tool). Anything I select for the qualifier prior to the ACES output node seems to select most of the image turning it grey as though I were working in LOG. This doesn't seem to be an issue for you in the video above. Input footage is 10-bit 4.2.2 v-log.
thank you for sharing. much appreciated
Hi Cullen, I discovered this channel yesterday, and I think you are wonderfully articulate in explaining these colour grading concepts, so I'd like to ask you a question: I've seen a lot of colourists (including yourself) choosing to use a log gamma as their working space. Could you elaborate why this choice is often made?
To provide some personal context: I do a lot of VFX work, and we almost exclusively composite and perform corrections in linear, because my understanding is that (while our eyes work more like log, in that we percieve more shadow detail than highlight detail) this is how light works in the real world, and therefore digital tools are often designed to work in Linear because the mathematics are more straightforward when you can, for example, simply multiply the pixels in a shot by itself to raise the exposure. Often I've graded in Resolve using ACES AP0 Linear, because this makes the Gain wheel act like the ISO dial in-camera, in that it is a multiplier on the pixels where each number represents a doubling of the amount of light: 2.0 equals 1 stop, 4.0 equals 2 stops, 8.0 equals 3 stops, and 16.0 equals 4 stops; which I've personally verified by shooting bracking tests between ISO levels and raising the exposure on various cameras.
So to bring the topic back around again - I understand that many colourists choose to work in log, and that ACEScc and ACEScct where created because colourists requested a log working space; however I don't understand why this is the case when Linear seems more efficient (in my view). Is it to do with a preference for how the tools operate, or does it affect tone mapping in some way, or is this a complex issue with multiple reasons? I'd love for you to elaborate on the concept of working gamma and how that effects the image!
I do the same, I use sat and luma curves over masks any day, it's less compromising
Thank you!
You deserve more subscribers...
Could you dp a video when you explain the difference between HDR wheels and Primaries ?
Absolutely brilliant series! Thank you so much Cullen for your work on this channel. This really helps a lot!
Totally new knowledge for me was this HDR pallet and the concept of working photographically. In terms of global exposure, color temperature adjustment and primary Lift, Gamma, Gain adjustment, do you now only work on HDR pallet and not use Primaries pallet at all?
Thank you!
@@CullenKelly Thank you for the reply. So could you say HDR palette is better/more precise or just different from Primaries pallete?
Thanks. Very informative. It would be great if you show us Rec 2020 or HDR workflow also?
@@CullenKelly Thanks Cullen.
Hurray! After having watched your 3 ACES Videos I could rebuild my grading tree which was originally under Davinci YRGB and Arri LogC color space within a few minutes.
Results appear even better. Only, performance of Davinci Resolve is suffering a bit.
@@CullenKelly Probably, it is the conversion into and back from ACES color space that eats some performance.
Anyway, in the meantime, I completely changed from using V-Log on my S1H towards HLG which I edit in DR under DR color managed mode.
This turned out to be great in many respects:
- Colors even better than with V-Log
- More headroom in the highlights
- slightly less banding / blocking of colors when using massive grading in combination with DR film LUT for Kodak2383
- slightly less noise
- RENDERING 3-4 TIMES FASTER compared to my V-Log grading tree (which is similar to my HLG tree)
Hey Cullen. Love all that you’re doing on here!
I just ran into something the other day following your input & output transform workflow, and setting my timeline settings to ACEScct. For me, having the timeline set to ACEScct, and when I set my out to .709 from ACEScct, the chroma goes crazy on Resolves CIE Chromaticity scope looking like it’s doubled up or something. Any ideas on that? I love this workflow but don’t want to be doing anything wrong here. And the entire graph being filled with chroma on that scope seems off to me!
It’s fine if I keep the timeline settings to rec.709(scene) but I love being able to use the HDR tools. That was very long winded. Thanks Cullen
Very interesting thanks a lot!
Thank you so much:)
Great series Cullen! If you're working in an Apple environment without an external calibrated SDI screen. Is it impossible to work in acescct? Because we have work in a 709.a timeline color space to see somewhat accurate colors displayed. Thank you so much for your time and diligence
Question for color temperature - is there a reason you don't use the camera raw panel to adjust the native white balance of the footage? I know this only works for raw footage but I am curious because I have found better results that way as it's not adding color on top of data but changing the footage settings. Or perhaps I am misunderstanding
When you are working in front of your IDT, like you were with clip #4, how is it that you can set your timeline to Aces cct when it has not been applied.
Thank you so much for the great tutorials! Really really neat. I love the new HDR controls, remind me of the fine tuning available in Assimilate Scratch. I dunno if you could answer this question.... Is there a difference between your method (grouping clips, adding the aces transform OpenFX) and just setting the entire project in the color managment tab (Project Settings) to ACES CCT ? (assuming all footage is the same camera )
@@CullenKelly Thank you so much Cullen, please let me know about the live session so I can attend! Thanks!!!
thank you, you explained it well. but i have question. i set my project to acescct and re709 as output. my dji records in dlog or something similar which is not supported by acces so I disable color menagemet i grade it manually. but after i finish my movie i want to set my output to rec2100 hlg and export it. now, how aces will know what my dji footage was and how to make it convert it properly, along with other clips which are converted properly by aces earlier ?
Hi, Cullen! Thank you for this amazing and generous youtube channel. I've recently joined mixinglight and, searching more about you, I eneded up stumbling across your channel. One question: why do you apply your global look in the "timeline" level? In other words: why in a level after the individual clips grading and not before? Thank you again!
Amazing!
I notice that ACES has a slightly different white point definition ( 0.32168, 0.33767 vs 0.3127, 0.3290 (D65)) than all other D65 color spaces(Rec709, Rec2020, etc.) It's my understanding that Resolve's CST transforms the color space but not the white point. That being the case, when you use a non-color managed workflow in Resolve, you use a CST to move into the ACES color space, but, you don't use a chromatic adjustment plugin to correct the white point differences. Why not? Since ACES is only the timeline working color space, and you're delivering to a D65 compliant output, it doesn't matter?
Is it better to do the aces transformation in the nodes or through the project manager?
What is the difference between them?
Thank you for this amazing content.
watch from part 1
Hey cullen, many of us aren't capable of creating lmts or dctl, would you give us some hint,
what is the pink symbol on the clips being affected at the same time?
scratching my itch ............ hahaha....... love your videos might buy your course
@@CullenKelly yes yes ,.. thanks for the reply ,. Thanks for update
This is a great tutorial!! Thanks Kelly. How can I get the exercise files to practice along?
@@CullenKelly Thanks for your reply, looking forward.
Thank you very much for this series!
How do you set your Color Science in the project settings of Davinci for the IDT - ODT by Node workflow? Should the Color Science be 'only' DaVinci YRGB (not color managed) and the Timeline Color Space set to ACEScct (same as output in the IDT)? And my final output is only set in the ODT node? Thank you!
Thanks. In order for HDR tools to work correctly, can we change the color space on Node level instead of Timeline level, and set it to ACES ? Would that limit our adjustments with regard to pure blacks in the footage? I see only two options on node level, ACES and ACES ap1.
@@CullenKelly Yes. I noticed a technique Qazi used: he sandwiched the grade between two CST nodes: IDT (Camera input Arri, Log C, output same as input, so he can have access to the dynamic range of Arri), ODT (Log C to Rec.709). Then, he changed the color space of the node after IDT to Davinci Wide Gamut (and Intermediate) as to give his printer lights a better range (It looked like his printer light adjustments would move a larger distance on the Waveform monitor in DWG color space). That's why I was curious about the difference between node-level color space and project level in your example.
Hi,
brilliantly explained. I am using your way. Instead of setting ASEC in the program prefrences, I use ASEC tranform node. Everything has become much clearer and no problems with Fusion page and ACES. In Fusion I work on ACEScg rendered files. On the last node I use ACEScg - rec709 conversion. Then doing colour grading I use rec709 - ACEScct - here I insert the nodes with colour correction and finally ACEScct - rec709. Is this in your opinion the correct way.
@@CullenKelly One question. If I set conversion at the end of the fusion string, ACESsg - Rec709, and then in the colour tab - Rec709 - ACEScct. Doesn't this cause a loss of quality?
First there is a conversion from wide system to narrow ACESsg - Rec709 and then from narrow to wide Rec709 - ACEScct. Maybe it is better to set ACEScg -ACEScct at the end of the work in fusion. This way we have the conversion ready to work with the colour tab. Or maybe it doesn't matter because all conversions retain full image information?
What about using DaVinci Wide Gamut with ACES cct as Timeline color?
Excellent lesson!
If you get iPhone footage shot in FilmicPro logV3 10bit, which input transform would you choose? Does it make sense to go from there to ACEScct and then back to 709?
@@CullenKelly Thanks, looking forward to Friday
What books are in the background at 0:37?
Can you elaborate on how the Exposure tool differs from Offset? I'm not seeing any appreciable difference just testing it out on some clips here but it'd be nice to know what it's doing beneath the hood to better use it.
@@CullenKelly Copy that, thanks brotha
When you mention the degrees of kelvin a 7:06 do you mean every 1 unit change one the temp tool is equal to 1 kelvin in the real world. For example if my clip was 5000 kelvin and I slid the temp to 500, would it equal 5500?
Hi ! Very good tutorial, it is really helping me and friends on an ongoing project. We are having a problem, though. Due to horribly poor performances, we wanted to use proxies. Our footage is shot in log, so our cst is from log to ACEScc, but then obviously when we use proxies, the cst no longer matches and it impacts both playback and render, somehow (use proxy media unchecked ofc). So we have performance, but our workflow isn't good anymore. Do you have any workaround for using proxies on log footage and maintain a sustainable ACES workflow ?
@@CullenKelly Hi, thank you for answering ! We did just this, and caching our NR and other heavy nodes + using quarter resolution proxy mode (which I learned didn't use proxies) helped a lot with the performance ! We could finally grade a few complex shots without Resolve crashing haha ! Thanks again
Hey Cullen!
Thank you for on amazing tutorial.
I have a lot of questions but for now I just wonder two things.
Does Luts work in ACES like before, and does it matter when on node tree you use luts?
Hope u understood my questions.
@@CullenKelly Thank you so much I really appreciated what you doing. I´ve tried to creat a bleach bypass look in ACES but the colors looks bad, Im using a panasonic GH5. I red that the DC-GH5/GH5S does not support ACES. Is there any solution for us?
Thank you again.
Hey! I seen that, I seen that, you guys too. That BOOK! You naughty.
Great
There seems to be no support for Vlog (Panasonic GH5) in ACES. Is there a work around.
@@CullenKelly Let me check it out
Hello Cullen, thank's so much for explanation. I have this problem. My Mac retina has a p3 screen. So when I use color default management (not managed) my output is Rec 709A so the final output is the same as the timeline. This method I use as you explained in Part 1 the aces transform with a node. The way you explain in this tutorial part 3 (color managed) when I have my timeline colorspace Aces than my output is not Rec 709A. Now my question, if I use the default color management and work with Aces transform nodes as explained in part1 and I do the grading in the middle node can I still use HDR color wheels. Or is this the wrong way.
Hope to hear from you. By the way, I subscribed to your channel.
Happy new year. Cheers Richard
@@CullenKelly Thank's a lot
greetings Richard
I actually have a maybe stupid question: I've found a cheap GH5 and of course i"m discovering that if I want to edit 10 bit in Resolve I'll have to buy the Studio version,which I will eventually. In hte meantime, if I should 10 bit and transcode into 8 bit, to edit in the free Resolve edition, this is pointless, right? I might get a marginally better footage because it's shot in 10 bit,but because I transcode it I find myself editing 8 bit that will NOT have a 10 bit footage latitude. Am I correct?
@@CullenKelly I'[ve just bought the Studio version.
Hi. Great series! When you switch your timeline color space from Rec709 to Aces cct, do you also need to turn off the output aces transform (cct back to rec709)? If I don't, my image gets very 'funky' and unusable. Am I missing something? Thanks.
@@CullenKelly Hi. Thanks for your response. Unfortunately not, all settings appear correct. I’ve done a 30 sec screen capture so you can see the setup and what happens when I change the color space in the management tab. Thanks.
th-cam.com/video/SW_OxBHbHxk/w-d-xo.html
@@CullenKelly Hi. Thanks, I was starting to think that may be the case. That'll teach me for upgrading too fast!
Has something changed in 17.2? I just tried following all the steps from videos 1-3 but when I try the color change in project settings everything looks really bad. I have to leave the project color space set to REC 709, if I do ACES cct then I have the weird color issue. Or maybe I'm doing something wrong?
@@CullenKelly Thank you so much! I wish TH-cam would let me send a photo so I could show you instead of try to describe it. Thank you so much for this. I was having a really hard time getting ACES, and for some reason your videos made it all click! I’ve been going back over some old footage and experimenting and that’s how I ran into this. I’ve probably watched the 3 part series 2 or 3 times through trying to figure out where I went wrong! Also something else I’ve been struggling with is understanding how I can get what I see color and gamma wise to be consistent with what it looks like when I export. Maybe you already have a video that explains that but if not it would be super helpful for me! Thanks again loving this channel and subscribed right away after I watched your ACES videos!
@@CullenKelly So I watched your livestream and it got me thinking. While trying to get my renders to look consistent from what I was seeing in DaVinci to my vimeo uploads I had seen some videos here on TH-cam telling me to turn on "
@@CullenKelly Lol, yes I don't know what happened there, maybe my post was too long? Basically I was having issues getting my output to match what I was seeing in Resolve so I did a search and found this video th-cam.com/video/f9a_jRWN7XU/w-d-xo.html
During your livestream I started going back and messing with my settings and in that movie they said to go to preferences>General>and check "Use Mac display color profiles for viewers"
When I tried following your ACES videos I had that checked. When I turned it off then everything worked like it did in your videos. So I've solved that problem, but now I'm curious about what that was doing, why it caused issues, and how I can get my output videos to match what I see in Resolve? Maybe it's addressed in your previous reply so I'll go check that out. You should definitely do something on this since you're a Mac user. Seems like there's lots of misinformation, or conflicting info on this. Thanks again for sharing your time and knowledge. You've jumped to the top of my TH-cam resources!
@@CullenKelly Ok! I’m glad that was it! Looking forward to hearing all about it!!
In regards to the section where you've set up your project as 'DaVinci YRGB': How would it differ if you chose 'DaVinci YRGB Wide Gamut' (again with Acescct as timeline) instead?
@@CullenKelly Sorry. I meant 'DaVinci YRGB Color Managed'
@@CullenKelly Already done! Thank you!
sir can u plz tell me if i choose Arri Log c in my working color space at node level, can it be alternate of Aces workflow?
sir i find one thing that if i have some rec 709 footage and i convert into arri loc which is my working color space it looks clipped but that is not happen when i use ACES as my working color space...Thank u for solving my doubt sir ♥️
👏👏👏 really excellent advice thanks. Any thoughts on how to setup your input if your camera output isnt on the list? (Bmpcc 6k)
@@CullenKelly Will the ACES input work effectively if the images were shot in raw using the BMPCC6K?
@@CullenKelly Great! Thanks, and thank you for your time and creating good content for everyone.
How to setup a DJI Footage for ACES?
Sos un capo
Do you have a 'buymeacoffee' link? Would like to do just that. Thanks for the series, so useful!
@@CullenKelly Enjoy! Thanks again.
👍
I do have a question tho. How does the "think photographycally" mentality live in the world of badly exposed shots, poor consistency and completely different cameras? I say this because I'm a filmmaker student and I usually offer my classmates to grade their projects for free just to get experience and it's a complete mess most of the time!
@@CullenKelly Can't wait for that. Just watched first session last night and I don't have words to express how much I enjoyed it!