Custom ACES Part 2: Grading Custom ACES With Fixed Node Structures

Great job, Joey! Things are definitely falling into place now. I now see that Part 1 was just an introduction to the basic concepts and motivations behind your approach. I like how you applied and built upon those basics in Part 2, to create a practical and flexible node tree and workflow. I can’t wait to see Part 3, and use this on my next project.

As for generated elements, like titles, would you apply this same node tree (whether at clip level or group level), setting the IDT to Rec709-to-ACEScct, or would you use a simpler tree for that? In other words, would you treat them like Rec 709 footage? While you may not grade the titles, I imagine you may still want to apply grain and perhaps do some ODT trims (e.g., SDR vs HDR) so they blend with the footage, no? I get that Part 1 already gave us a simple solution. I’m just wondering how you handle this on your real-world projects. I’m guessing this applies to more than just titles.

Thanks!

Thanks Alejandro! In general I use the same tree for graphics/titles – but I disable the vignette (if i’m using it) – and like you said, set the IDT to Rec709. Even if I’m not using any node in the tree except the IDT, I like to keep the node tree the same (its not like disabled nodes cost anything!)

I don’t use the CST to convert Rec709 to LogC (like i do with other camera formats) – because I’ve found that doesn’t work very well. CSTing between camera log formats works excellent – but I haven’t been happy with trying to convert Rec709 footage into a log space.

Another benefit is that if I switch the IDT node to Rec709, then the first bank of parallel nodes has the added benefit of behaving *exactly* like they would in a Rec709 project. So in projects with mixed log/Rec709 sources – I have the option of grading Rec709 in the original space, or in ACES, or both.

This makes so much sense. Thanks!

I was going to ask for your thoughts on using the CST to take Rec709 into Log space, but you answered it before I even asked. (Queue the theme from the Twilight Zone, lol)

love your highlight recovery method @9min. ACES or no ACES that’s a slick trick!

Thanks – big credit to Dan on that one, he told me about it first!

Thanks Joey! I understand you like the way NR and Nitrate work when placed before the IDT, but is there a way to place them after the IDT (but still before the ODT) ? It seems to be the main (the only?) limitation of a fake ACES pipeline.

Hey Francois – nothing stopping you from putting them inside ACES space. I just prefer how it looks to do it as if it was a film negative – and therefore before the IDT (which isn’t an option in project-level ACES).

Nitrate doesn’t have a built-in ACES profile but since ACEScct is a log space, the LogC one actually works as a pretty good starting point inside ACES, and you can always tweak the grain curve to taste. The builtin Resolve film grain also works nicely in ACES – so that’s another option as well.

Thanks, Joey! Your approach is very useful. First, previous nodes for saturated lights help a lot. I had an issue with ambulance lights that broke in ACES. I couldn’t fix them with LMT’s so I had to key them out and tried with another IDT, in a different layer. Also, changing gamma to Log C in RED footage helps to reach IDT a little less harsh in blacks with NR in underexposed shots. Thanks, again!

Thank you. I have a Q. How would you deliver GAM for Netflix with this workflow?

Aleks – check out part one in the series – Joey covers that using adjustment layers in a pretty clever way

https://mixinglight.com/color-tutorial/custom-aces-part-1-building-an-aces-workflow-in-a-resolve-node-tree/

Hey Aleks- as Robbie said definitely check out part 1 – but even if you don’t use adjustment clips, and instead choose to put the ODT on the timeline level, making a GAM is as simple as changing the output on your ODT node (wherever it may be) to ACES AP0 linear.

Thank you

Loved handling the keys pre-“input”, the corrections post-“input”. Slick. Clean. And yea, doing that replacement prior to grain also good.

Thanks! Yea this has absolutely become one of my favorite ways to work.

Very helpful – thank you.