ACES 201 – Node-based Grading, Sharing Looks to On-Set and VFX

June 22, 2020

In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.

ACES Advanced Workflows: Building node-based pipelines, dailies processing, and collaborating with others

Presented by colorist Peder Morgenthaler

This webinar builds on colorist & Mixing Light contributor Peder Morgenthaler’s ACES 101 webinar.

Co-hosts: Robbie Carman & Patrick Inhofer

In this Insight:

  • Get an introduction into building an ACES-compliant node tree in DaVinci Resolve while working with a YRGB project.
    • Learn the advantages of this workflow
    • Understand the shortcomings of this approach if you need to deliver an ACES Archive Master
    • See how to adapt camera formats that don’t have ACES Input Device Transforms by using Resolve’s Color Space Transform ResolveFX plugin
    • Learn the specific nodes and settings that Peder uses when grading in this workflow
    • Remind yourself how to deal with camera Raw footage in a YRGB project using an ACES-compliant node tree
    • How to use Resolve’s ‘Shared Nodes’ to simplify and accelerate the ACES node-based pipeline
      • Changing a shared node ODT to switch from SDR to High Dynamic Range output
  • Realize that ACES is an entire production & post-production pipeline decision with multiple teams needing to maintain ACES compliance
    • What codec should the colorist export into when sharing footage with other artists?
    • How does the colorist share the ‘show look’ for on-set monitoring?
    • Tips and techniques for exporting a ‘preview LUT’ to be used on-set
    • Traps and pitfalls to avoid when exporting LUTs
  • What’s ‘best practices’ when creating dailies for your editing team?
    • What’s the danger of creating dailies using the ‘preview LUT’?
    • How to color grade your dailies while staying ‘ACES compliant’
      • Specific steps setting up a dailies-processing DaVinci Resolve project
      • Properly placing the DP’s approved Look within the node tree when processing dailies
  • What is the ACES-compliant workflow for handing off ‘Looks’ and footage between the visual effects department and color grading?
    • What’s the proper codec to use and in what color space?
      • Why EXR? Which EXR options should you select? Can you use DPX (or another codec) instead?
    • Which aspects of ACES’ color transforms need to be disabled on export?
    • Understanding why the initial VFX export is critical for image quality
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