Dude I love this! I've been trying to figure out a similar workflow but having trouble with the colour transform stuff. Had no idea about the AgX LUT, but that is huge in connecting those pieces together
Really happy to hear that ! I did actually struggle with the same thing especially that i am still figuring davinci resolve out mainly when i was using Aces from arnold. Will try to share some more in depth tips in the future regarding linear workflows.
@@AlternaVisionStudio love it. I’m coming at it from the other side: I work in video and am crossing over to 3D. Have been thinking of doing a video myself about just treating these files as a regular old linear video file, but need to do more testing on the workflow
I can't really say about the difference between real camera output and render engine output but it is true, it needs a bit of fiddling around, DCTL can also be a good option. Keep me updated (instagram or discord) regarding your workflow, its always interesting to see other's ways of doing things.
Isn’t it important to note that any additional adjustments should be made Before the LUT transformation node in order to keep the dynamic range within the linear color space? (I might have missed that if you mentioned it)
Thanks ! Ive never really looked into the possibility of preparing a render to be graded using acescct but there must be a way, i will look into it and refer back.
This is exactly what i do with Filmic and i also export all my Krita or Substance designer painter to ACES CG open EXR , for the main render ACES recommend to use only half float 16 bit open EXR in ACES CG but you can use ACES 2065 if you have Real Arri Alexa or RED or Black Magic design camera footage composite with the CG texture element, CG was for computer graphics element mean texture,compositing and rendering, but if you render have wider Color Space like AGX you can use 2065 this last was mainly made for real video or photographic element recorded in RAW or LOG it have the wider ACES Color range, keep the 32 Bit only for skybox and 360 pic that was use as a skydome lightning this is the true HDR format and the older and it was not made for video purpose.
@@AlternaVisionStudio the Color from substance painter to blender to davinci is under control from the begining of you texturing the asset to the final render and video export thats why it became industry standard it also preserve the post Color grading of your video footage, from da Vinci to blender it look the same in DCI P3 , RGB or rec 709 , im using a color charts to be sure that the color is accurate and it was ! 32 Bit work only with DNG still shoot RAW in bracketing mode, no broadcast camera are able to shoot a video in this Dynamic range or even an HDR monitor screen able to show it, not yet, but in the future maybe ...
Sure you get the AgX colors but from my experimantation you lose all the data contained in an ACES / linear workflow when saving to AGX log... So you're basically color grading a PNG at this point.
In my case it worked out the best with Agx log, as shown by the histogram and the actual grading, in the end of the video yes i was grading a "png" since i already baked the color transforms to use dehancer for film emulation. What workflow worked for you ?
@@AlternaVisionStudio Sorry for the supa late reply. What I meant is exporting AgXLog from blender crushes all HDR values on EXRs, constricting them from 0 to 1. Thresholds for effects such as glows in davinci are basically rendered useless as you simply don't have the range to work with them properly. On the image above it probably makes no difference but when you have fire/ light effects you need those hdr values. I'm using a linear workflow in davinci (fusion "timeline" is linear by defaut and I set the timeline to linear in project settings for edit/color etc), overriding scene render to linear in blender saving to EXR. Then a simple output Linear to AgX SRGB LUT in davinci project settings to get the correct agx tonemapping. It's the only thing i've found so far to retain the values from blender after weeks of headaches trying to find the best way. Really not enough videos / posts online discussing this topic, I really wish there was. You really feel blender is a niche here, let alone blender + Davinci combo.
@@AlternaVisionStudio Sorry for the supa late reply. What I meant is exporting AgXLog from blender crushes all HDR values on EXRs, constricting them from 0 to 1. Thresholds for effects such as glows in davinci are basically rendered useless as you simply don't have the range to work with them properly. On the image above it probably makes no difference but when you have fire/ light effects you need those hdr values. I'm using a linear workflow in davinci (fusion "timeline" is linear by defaut and I set the timeline to linear in project settings for edit/color etc), overriding scene render to linear rec709 in blender saving to EXR. Then a simple output Linear to AgX SRGB LUT in davinci project settings to get the correct agx tonemapping. It's the only thing i've found so far to retain the values from blender after weeks of headaches trying to find the best way. Really not enough videos / posts online discussing this topic, I really wish there was. You really feel blender is a niche here, let alone blender + Davinci combo.
Join our discord if you have any questions : discord.gg/272SAywr4K
Thank you very much for an engaging review!
My pleasure ! Thank you for reaching out !
Dude I love this! I've been trying to figure out a similar workflow but having trouble with the colour transform stuff. Had no idea about the AgX LUT, but that is huge in connecting those pieces together
Really happy to hear that ! I did actually struggle with the same thing especially that i am still figuring davinci resolve out mainly when i was using Aces from arnold. Will try to share some more in depth tips in the future regarding linear workflows.
@@AlternaVisionStudio love it. I’m coming at it from the other side: I work in video and am crossing over to 3D. Have been thinking of doing a video myself about just treating these files as a regular old linear video file, but need to do more testing on the workflow
Plus, resolve doesn’t seem to treat the files the same way it treats a linear file from a “real” camera
I can't really say about the difference between real camera output and render engine output but it is true, it needs a bit of fiddling around, DCTL can also be a good option. Keep me updated (instagram or discord) regarding your workflow, its always interesting to see other's ways of doing things.
Thankyou so much I wanted to use davinci for long time for color grading my sequence.
Glad you found the video helpful !
Isn’t it important to note that any additional adjustments should be made Before the LUT transformation node in order to keep the dynamic range within the linear color space?
(I might have missed that if you mentioned it)
@TheYahn i believe i have mentioned it when comparing the curve and color histogram. Definitely important to note that.
Great video, thank you so much! 🙏🏼
Do you know how to get the same look wile using ACEScct Color Science in Davinci Resolve's Color Menagement?
Thanks ! Ive never really looked into the possibility of preparing a render to be graded using acescct but there must be a way, i will look into it and refer back.
@@AlternaVisionStudio I appreciate it!
Hello! I'm planning to get dehancer free trial. Is it working in davinci resolve free version?
Yes should work correctly.
@@AlternaVisionStudio thx for replying! :)
This is exactly what i do with Filmic and i also export all my Krita or Substance designer painter to ACES CG open EXR , for the main render ACES recommend to use only half float 16 bit open EXR in ACES CG but you can use ACES 2065 if you have Real Arri Alexa or RED or Black Magic design camera footage composite with the CG texture element, CG was for computer graphics element mean texture,compositing and rendering, but if you render have wider Color Space like AGX you can use 2065 this last was mainly made for real video or photographic element recorded in RAW or LOG it have the wider ACES Color range, keep the 32 Bit only for skybox and 360 pic that was use as a skydome lightning this is the true HDR format and the older and it was not made for video purpose.
Useful input, Thanks for sharing.
Will try to compare half float and 32 bit exr files sometime soon and see the difference : D
@@AlternaVisionStudio the Color from substance painter to blender to davinci is under control from the begining of you texturing the asset to the final render and video export thats why it became industry standard it also preserve the post Color grading of your video footage, from da Vinci to blender it look the same in DCI P3
, RGB or rec 709 , im using a color charts to be sure that the color is accurate and it was ! 32 Bit work only with DNG still shoot RAW in bracketing mode, no broadcast camera are able to shoot a video in this Dynamic range or even an HDR monitor screen able to show it, not yet, but in the future maybe ...
Sure you get the AgX colors but from my experimantation you lose all the data contained in an ACES / linear workflow when saving to AGX log... So you're basically color grading a PNG at this point.
In my case it worked out the best with Agx log, as shown by the histogram and the actual grading, in the end of the video yes i was grading a "png" since i already baked the color transforms to use dehancer for film emulation.
What workflow worked for you ?
@@AlternaVisionStudio Sorry for the supa late reply. What I meant is exporting AgXLog from blender crushes all HDR values on EXRs, constricting them from 0 to 1.
Thresholds for effects such as glows in davinci are basically rendered useless as you simply don't have the range to work with them properly.
On the image above it probably makes no difference but when you have fire/ light effects you need those hdr values.
I'm using a linear workflow in davinci (fusion "timeline" is linear by defaut and I set the timeline to linear in project settings for edit/color etc), overriding scene render to linear in blender saving to EXR. Then a simple output Linear to AgX SRGB LUT in davinci project settings to get the correct agx tonemapping.
It's the only thing i've found so far to retain the values from blender after weeks of headaches trying to find the best way.
Really not enough videos / posts online discussing this topic, I really wish there was. You really feel blender is a niche here, let alone blender + Davinci combo.
@@AlternaVisionStudio Sorry for the supa late reply. What I meant is exporting AgXLog from blender crushes all HDR values on EXRs, constricting them from 0 to 1.
Thresholds for effects such as glows in davinci are basically rendered useless as you simply don't have the range to work with them properly.
On the image above it probably makes no difference but when you have fire/ light effects you need those hdr values.
I'm using a linear workflow in davinci (fusion "timeline" is linear by defaut and I set the timeline to linear in project settings for edit/color etc), overriding scene render to linear rec709 in blender saving to EXR. Then a simple output Linear to AgX SRGB LUT in davinci project settings to get the correct agx tonemapping.
It's the only thing i've found so far to retain the values from blender after weeks of headaches trying to find the best way.
Really not enough videos / posts online discussing this topic, I really wish there was. You really feel blender is a niche here, let alone blender + Davinci combo.
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