![]() I just wanted something that would show how footage will look after ACES colour management, but without a custom grade. I understand that the RRT is somewhat subjectively designed, and by and large like how it looks. What I planned to do was create a LUT that would stack the effect of the camera IDT, the RRT and a REC.709 ODT into one 3D LUT, I’ve done this in the past with other cameras with OCIO. So what we want is a LUT we can load onto monitors (a SmallHD 502 in this case) that will give a reasonable (all things considered, especially the budget) approximation of the final ACES “look” whilst on set. We’ll have someone backing up cards, but no on set grading or anything. On set, we will be very limited in terms of DIT. The final grade on the film will be done in Resolve with Aces cct. Thanks again for your help, but I’m afraid I’m probably not explaining myself clearly enough. In terms of Blackmagic Design camera IDT, DaVinci Resolve Studio, version 12.5 and 14 already supports BMD Film, (BMCC) 4K and 4.6K IDTs, in addition ARRI Alexa, Canon 1D/5D/7D/C300/C500/Panasonic V35/Sony RAW/ slog2/slog3. And that inconsistency has created the disappointment or glory, hate or love for the ACES RRT. With other footage and times the results can be less than desirable, making the colorist work backward to correct the undesirable RRT effect. Depending on the exposure and quality of the light source footage has and the intended look of the image, sometimes the RRT works as a LUT, a miracle created specifically for that footage. ![]() ![]() It’s my understanding that the issue or feature in the way ACES RRT works, (depending on what side of the effect the colorist aligns) is under discussion for the next enhancement release version of ACES. This has been discussed in this forum numerous times. In other words, the RRT is not transparent. It has its own mapped tone, its own personality. Regarding the shift tone: It’s probably that the shift in tone you are seeing is part of the nature in the way ACES RRT processes the images. Unfortunately, DaVinci >Resolve Live< is impracticable to be used on-set for live monitoring purpose, and DaVinci Resolve 14 didn’t bring any good news regarding color grading live on-set. Since DaVinci Resolve Studio doesn’t support LUT boxes and since Blackmagic Design own LUT box, HDLink Pro has no driver support since MacOS 10 later versions, working with Davinci Resolve is going to slow down the workflow on-set. Regarding your question about the tool you are using to create the LUT, as a DIT, I would recommend using one of the standard tools used on preproduction and on-set for color management and creating looks: LiveGrade, Prelight, FireDay, among others. I have been on-set in remote area for the last two weeks, where there is no Internet signal until we return to the city at night. I used the 64圆4圆4 (in Resolve) to see if it was LUT size causing the issue but it doesn’t seem to be. Which seems a little hacky to me, any advice? You can then generate a LUT from this and import it to your monitors. The best way to generate a LUT that represents the ACES transform would be to grade one of your standard clips to, match the clip created using the ACES colour space workflow. I did get in touch with Blackmagic but this was there response: I’ve only used a 64圆4圆4 cube so could that be the issue? Also the footage I’m testing it on is raw so are there any extra steps going on there that the LUT image wont have taken into account? ![]() ![]() It sort of worked but there’s a slight tone shift in the image, almost like an incorrect white balance, when I compare applying the LUT to an image and using the proper workflow on the same image. What I’ve tried is running the OCIO LUT image through resolve with the URSA IDT and the correct RRT/ODT and then pulling a LUT out of that with OCIO again. However in this case I’m working with The Blackmagic URSA which has no published IDT. Normally I would concatenate an IDT, RRT and REC.709 ODT using the OCIO tools (is this an acceptable way of doing it?). I’m wanting to create a viewing LUT for on set monitors but I’m having some problems. ![]()
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