UPDATE: There seems to be a bug in Resolve that could clip your highlights in your EXRs if you use the ACES transform at the clip level. The way I have it setup in the video works fine, so if you're following along, no worries, this approach still works. But if instead of placing the ACES Transform node (ACEScct to sRGB) in the overall timeline section of the color page, you place it on the individual clip level, the highlights will be clipped. Something to watch out for if you're only importing one clip into the timeline. If you always place that ACES node on the timeline level, you'll be good. Thanks, @shebbe5510 for troubleshooting this!
Hi Zak, great tutorial. Thanks for explaining it. I've noticed that issues as well. But for me that solution doesn't seems to be working (DVR 18.5). But i've noticed that i can start the setup the same way: CG to CCT. Correct all the dark values in here. Then have one more node converting CCT to CG. In here correct only bright values ( and they wont be clipping in that setup). Then final node CG to sRGB ( or any other one). Maybe a bit messier setup but it does work. As you noticed the blacks in CG are getting contrasty very quickly. but the same goes for CCT and highlights. Maybe there is something wrong with it in general. Or something is missing here. Thanks again.
@@igobyzak Hey Zak I have a quick question, what do you do about LUTs? Do you just bake them into the image via Redshift then export? Or Do you have a workflow in Davinci?
@@loganpenciu7317 I love a good film emulation LUT! But I never bake them into the image via Redshift. That would clamp the high dynamic range and I don't want that. I apply my LUTs in Davinci Resolve. But it's important to know the LUTs you're using. Like what color space are they expecting as input, and what color space are they spitting back out. The LUTs I use are made for ACEScct , and return ACEScct gamma. So I just plug these into my node graph at the timeline level before my final ACES transform from ACEScct to sRGB.
@@igobyzak Thank you for the response! That makes sense. Can you point me in the direction of getting ACEScct LUTs? Or do you just convert them yourself?
Such a great video. Visual explanation of what are "lift, gamma, gain, offset" is the best that I've seen. And this tip on how to "clip" grey whites to actual whites at 1:10:27 is super useful.
if your open EXR is already ACES CG, you can technicly apply an IDT (input device transform) without using ACES Transform node, because this way you are restrain to RGB or other color space like Rec 709 or P3 depend of your choose, you must also apply HDR to your node to having acces to those extra 16 bit or 32 Bit dynamic range that the open EXR deliver, it work also with regular LINEAR wide RGB color space... usually i use ACES CG for compositing element or texture on my 3D model, but if the render engine use a true PBR lighting or spectral lightning it's almost like shooting on a real RAW camera or Linear wide RGB RAW file, so ACES 2065 over ACES CG texture should work.
Hey, To the part about doing automatic editing from the animatic to the actual render. If the sequences have exactly the same frame numbers and length, you could render them out into two separate folders with the exact same names. Import just the animatic to Resolve. Then edit on the animatic, after which you can paint over the files and choose "relink clips / media". Choose the finished animation files. This will change the animatic files to the rendered files and your edit is done. So basically a proxy file workflow. I don't know the specifics of your workflow, so maybe this doesn't help at all!
Such a great tutorial. I'm working with Octane in Blender using an ACES workflow and have been looking for information precisely like this on how to combine passes and edit them in Resolve. Thanks!
If you're doing any color or exposure corrections, like offset, gamma, gain, or any of the other knobs I reccommend adding 2 more color space transform nodes, where you go from whatever color space and gamma you're in (for example SRGB with SRGB) to 'Davinci Wide Gamut' and 'Davinci Intermediate' for the gamma. Then placing any and all corrections after that first Color space transform, then a second Color Space transform with the exact opposite settings, going from Davinci Wide Gamut and Davinci Intermediate back to SRGB. It's an even larger color space than ACES and way more forgiving making color corrections and helps prevent clipping more than just applying color corrections in SRGB or ACES color space
You can add color space transforms and go into Davinci Wide Gamut and Davinci Intermediate, there would be nothing wrong with doing that, but there is no benefit in doing this. Just transforming into a wider color gamut does not increase the colors in our footage or renders. And because, currently, there are no display color spaces that can display all the colors in either ACEScg or Davinci Wide Gamut (humans can't even see all the colors in these wide gamuts) the colors are still limited by our output display space. So taking an ACEScg render, converting it into Davinci Wide Gamut, cranking up the saturation, would not give you any benefit because you still have to output to some display space. sRGB colors are only as saturated as sRGB colors. And P3 can only be as saturated as P3 colors allow. As far as clipping goes, you really shouldn't be clipping colors in either Davinci Wide Gamut or ACES; that's going to cause problems when it's time to export. We have gamut mapping and parametric gamut mapping with ACES transform nodes so we can adjust the way the colors are being "pulled in" from clipping. Again, no real benefit to using Davinci gamut and gamma. Also, because I'm using ACEScct for the color correcting, which is a log gamma curve, a lot like Davinci Intermediate, there's really no benefit do doing what you're saying in terms of the way the tools on the color page react. It's not as though we're trying to color grade in Linear gamma, which would be much less intuitive. The only reason I can think of transforming into Davinci Wide Gamut and Davinci Intermediate is to use a specific LUT that was designed to work in Davinci Wide Gamut instead of ACEScct. The LUT wouldn't be exactly the same, but it could be fine to use it this way.
@@igobyzak Perhaps the next useful lesson would be to take apart the test project and its coloring with an explanation of the workflow. What do you think of this idea?
Hey Zak, brilliant video. I've been playing around with Fusion lately and was wondering if there's a workflow for Multilayer EXR? I understand that you can use a Split Script to Split the Loader node into multiple passes but say if I want to replace the initial file, would I be able to do that without creating another Loader node and then Split it again? Hopefully I make sense. Thank you!
Sorry for the delay! I thought maybe selecting all of the nodes created by the split script and going to the Inspector-File-Filename and selecting the new multichannel EXR would do the trick. But it looks like that doesn't update all the nodes, only the main one selected. So I guess I'd just copy the new EXR filename path and paste it down the line in each of the nodes.
Thanks! This is something I need to look into again, but I think I preferred this method because I was having issues importing brand graphic sRGB images. It's pretty common in my work to have brand graphics overlay the animation and I think I was having trouble getting those sRGB colors to remain unchanged. But I should look into this workflow again; it's possible I was missing something.
Man such a helpful video, I finally saw how gamma-offset-gain transcribe to the curve. Also, thinking to post process still shots in Resolve too now, rather in PS - ACES transform node workflow looks quite smooth. Also, PS seems to produce some color artifacts converting with OCIO. Thanks!
Have been looking for a final push from AE to Resolve, and this is it :) Thanks for a great tutorial! What are the main benefits of a complete multipass EXR setup, like you show in this tutorial? At our studio we usually only use cryptomattes and puzzel mattes for picking elements in the shots when colour grading. How would a fusion setup look like with cryptomatte and puzzle matte?
Thanks! Rebuilding the beauty with all the render passes just gives the ultimate control over the final image, especially if completely different colors for objects would/are needed. Product renders, for instance, where the product line has different color options, only one full multipass render would be required. Changing the color on the diffuse pass and GI pass would mean that reflection colors are still correct, as opposed to only using puzzle or cryptomatte masks on the beauty pass. You can add additional Media Out nodes in the fusion tab and then "Add Source" in the Color Page nodes to bring your puzzle/cryptomattes into the color page for specific grading.
This was incredible! It was so useful and well explained. Thank you so much, Zak! Wow! I have two questions: So, at the end of the day, if I use the default, non color managed "Davinci YRGB" workflow and set the "Timeline color space" to AcesCCT, and manually adjust the IDT and ODT with the Aces Node, will the HDR color wheels behave the same as in the "Davinci YRGB color managed" workflow with custom adjustments, as you showed in the later part of this video? Basically, there is no difference, right? Since you're a photographer, I believe you are familiar with Nik software and its amazing effects. What is the alternative for their "Output Sharpener" plugin? I find that its "Structure," "Local Contrast," and "Focus" effects are unparalleled by any other sharpening or enhancing tool. Do you have any idea how to achieve the same look in Davinci? Thank you once again for your time. I appreciate it! Love you, man !
Thanks so much for watching! For your first question, in general, yes that's correct, but you have to be careful what your IDTs are. Like I show in my first example, if I have the timeline color space set to ACEScct and I'm making adjustments to the ACEScg image, the tools won't feel very natural because we have a mismatch between our timeline color space and the color space of our footage. In order for the tools to "feel correct," you'd first need to go from ACEScg to ACEScct, making adjustments and color grading here, then on the timeline ACES Transform go from ACEScct to sRGB (or where ever you're wanting to display on). This way our footage is now being corrected/graded while it's in ACEScct, which is our timeline color space and dictating how the HDR panel is operating. For the second question, I've actually never used Nik software (I'm a Capture One and Lightroom dude) so I'm not really familiar with those exact tools. But I would look into the general sharpening section in Davinci's color page, along with Midtone Detail slider. There's also the "Texture Pop" node in the studio version that may be what you're looking for. I hope that helps! Thanks again!
Great video, now my understanding is that if i want to export my render as a HDR video then i would do Rec 2020 format, not really sure what gamma tag to use for that. Can you make a vid on how to do same thing but for hdr output workflow for youtube, this seem to be a very annoying and confusing process for hdr content creation.
HDR color grading and output gets a little tricky. The question is, do you want your HDR output to look exactly like your SDR (sRGB or Rec.709) grade? Or do you want your HDR output to take advantage of more colors and higher brightness value of the HDR format? In order to actually see proper HDR in Resolve, I believe you need a dedicated output signal to an HDR compatible monitor. A card like a Deck Link from Black Magic will send an untouched video signal directly to the monitor, bypassing the operating system's color management. This is really going to be important if you want to do a dedicated HDR grade on your render. Output settings are going to depend on the final destination of your render and what monitor you're using to grade your HDR output. If your dedicated HDR monitor is only capable of 1000nits, I don't believe you can accurately grade to an HDR format above this nit level. So you'd want your final output to be something like Rec.2020 color space with whatever gamma your final delivery would use (and your HDR monitor is displaying). I believe you've got a choice between HLG and PQ (ST2084). But I've never done any of this, so take all of this with a grain of salt.
@@igobyzak so I was thinking is to have it look same as srgb but with higher value/brightness range since render outputs 32 bit color depth and usual non HDR video just remaps these values to something it can display, my idea was to utilize this brightness data for HDR output. Also I don't really understand why you have to get specific hardware to display HDR content from PC. Media players have been doing it for years like VLC and klite codec pack and UA-cam can play HDR on your PC with HDR display so why would davinci playback of HDR content require specific hardware?
Thank you very much for this video. I've been trying to wrap my head around colorspaces for some time... I wanted to ask you what do you think about AgX and the workflow associated with it? It seems to me that it's much more artist and userfriendly than ACES... I've been experimenting with it for a personal project, wondering what other people think and how they use it... Thank you once again for your time and efforts!
I haven't really messed around too much with AgX but I know people seem to like it. One thing to remember though is that the text and reasoning surrounding AgX is based on the ACES 1.2 standard, before ACES implemented the gamut mapping option. I think before this happened, AgX provided a solid alternative to ACES, but I don't really think, in my work anyway, it's as necessary these days. We have more control over hue shifts and contrast with ACES now.
hi, great tutorial but I am struggling with the Deliver tab - I keep getting the same issue - Render Job failed as the current clip could not be processed - Failed to decode the video frame. - not sure what setting needs to change - if I export single frame in MP4 r EXR it works fine but the only waty to export stills atm is through screen grab.
Not sure what the reason is for this. You can try setting the render speed in the deliver tab to something much lower than the default "Maximum" setting. Also, from the Color tab, you can add stills to the Gallery then export stills from the Gallery.
Thanks a lot! but when i use project settings method the acestransformnode looks very dark in fusion part .Can't this method be used in the fusion part?
It depends on what you're trying to achieve. You can use an Aces transform node in fusion, but what are you transforming to and why? Are you transforming to sRGB and exporting from Fusion? If so, that should work just fine. But if you're transforming to sRGB then going to the color tab for corrections then exporting through the deliver tab you may be applying incorrect transforms or applying double transforms. Hard to say without more details.
@@igobyzak Thank you for your reply.Using Aces transform node alone it works very well both in color tab and fusion tab like in your video. After setting color management in project settings, I connected an Aces transform node from ACEScct to sRGB in the color tab and it works fine too. Then I go to the fusion tab, connect a same setting Aces transform node after the MediaOut node, the color became very dark in the fusion viewport.Did I do something wrong?
What could be the issue when the color doesnt match my viewport? They lack the color punch and are slightly more dark. it was a still though. But I assume that you can just save out as a png and the color should still be the same?! EDIT: Darn monitor color profile.....
Are you using any other Post FX in Redshift, like Photographic Exposure, curves adjustments, or LUTs? Those won't carry through in an EXR export, so you'd have to recreate those modifications in Resolve. But you're correct, if you save a PNG, the ACES transform to sRGB will be baked in, along with any of these adjustments you've made.
It should be pointed out to new artists that you don't need to worry about this at all until you've learned a million other things first. I've seen so many terrible renders with bad lighting, materials, & composition, the wonkiest of camera moves and they're like "I rendered this w ACES". My guy.. It's awesome to get into CG, it's super fun and can be a great career, but trying to work with in ACES color space before you're ready is like putting rockets on a bicycle. You can just work in 32bit Linear if it's that important to you. But you need to get up to that 97% before that final 3% makes any difference. The vast majority of the amazing motion graphics you see on film and television is not in ACES. I'm not trying to discourage anybody, I'm just saying there's no need to get in the weeds with color spaces off the bat. Focus on the fundamentals.
Well that's not true at all. If it's industry standard... which it is then you damn sure need to know it. I'd say understanding color, color spaces and light is the first step. Not the last. Srgb images will look like crap too, has nothing to do with colorspaces.
@@sethrichardson6042 I mean, I’ve been doing this for twenty five years. And you snuck color and light, into it as if that isn’t exactly what I’m talking about. You don’t need ACES to achieve good lighting or good use of color. I’m saying that understanding color theory (and a million other things) is significantly more important than color space. People think this is a short cut. It isn’t. If you don’t even know what a split compliment is, then you’re putting the cart before the horse. You can get in the weeds with color spaces when you’re ready. But unless you’re working in actual film production, it’s not likely that a shop you land a gig at is using ACES. In fact, the vast majority of mograph is made at 16bit srgb. And not even linear. I’m not telling people it’s not important, I’m saying working in ACES won’t make bad work magically good. And for new people, there are much more important things to learn. People don’t even know what a straight fill is and want to work in ACES. It’s silly.
I get what you're saying but I don't think it really applies here. You say you need to get that 97% before the final 3% makes any difference, but that's not at all what aces does and it doesn't really make sense. Understanding how color works in 3d is very important, even if you decide not to use aces, and it's not some "final touch" thing, but it helps you understand how to light, tonemap, color correct, composite, texture, everything really.
@@sr1488 When you know what you’re doing it really only is the icing on the cake. And all of those things you’re mentioning about light and tonality, aren’t exclusive to ACES. My point from the very beginning was never that it’s not important. My point was that people who are starting off have much bigger fish to fry, and that there time is better served learning the fundamentals.
@parttimehuman right but these things aren't mutually exclusive. It's not like you can only learn about aces or you can learn fundamentals of composition, color, etc. Learning about aces can teach you about color and how it works in the rendering world, because it is quite different than in the real world. Learning about how renderers actually work is a fundamental part of 3d and just because a lot of studios get by without understanding it (believe me, I know- it's very frustrating to work at those places) doesn't mean you should ignore it until you are this fully complete artist you envision.
Nice one again Zak! Great to see you put such effort in and make thorough videos on workflows rather than condensing it down to speedrunning button clicks to final result. I have some info I'd like to share though, dm'ed you again on acescentral;)
UPDATE: There seems to be a bug in Resolve that could clip your highlights in your EXRs if you use the ACES transform at the clip level. The way I have it setup in the video works fine, so if you're following along, no worries, this approach still works. But if instead of placing the ACES Transform node (ACEScct to sRGB) in the overall timeline section of the color page, you place it on the individual clip level, the highlights will be clipped. Something to watch out for if you're only importing one clip into the timeline.
If you always place that ACES node on the timeline level, you'll be good.
Thanks, @shebbe5510 for troubleshooting this!
Hi Zak, great tutorial. Thanks for explaining it. I've noticed that issues as well. But for me that solution doesn't seems to be working (DVR 18.5). But i've noticed that i can start the setup the same way: CG to CCT. Correct all the dark values in here. Then have one more node converting CCT to CG. In here correct only bright values ( and they wont be clipping in that setup). Then final node CG to sRGB ( or any other one). Maybe a bit messier setup but it does work. As you noticed the blacks in CG are getting contrasty very quickly. but the same goes for CCT and highlights. Maybe there is something wrong with it in general. Or something is missing here. Thanks again.
This tutorial is incredible, thanks Zak!
Do you know which version of Resolve this bug is present in?
Hands down the best resolve/fusion tutorial for 3D artists I've seen, thank you so much!
Your videos and work are criminally underrated. Thanks for sharing dude.
Appreciate that! Thank you for watching!
This video is a whole masterclass. Many thanks for sharing your knowledge!
Doing the lord's work bro. You literally unraveled the entire Redshift to Davinci Resolve Workflow.
Haha, thanks! Glad you found it useful!
@@igobyzak Hey Zak I have a quick question, what do you do about LUTs? Do you just bake them into the image via Redshift then export? Or Do you have a workflow in Davinci?
@@loganpenciu7317 I love a good film emulation LUT! But I never bake them into the image via Redshift. That would clamp the high dynamic range and I don't want that. I apply my LUTs in Davinci Resolve. But it's important to know the LUTs you're using. Like what color space are they expecting as input, and what color space are they spitting back out. The LUTs I use are made for ACEScct , and return ACEScct gamma. So I just plug these into my node graph at the timeline level before my final ACES transform from ACEScct to sRGB.
@@igobyzak Thank you for the response! That makes sense. Can you point me in the direction of getting ACEScct LUTs? Or do you just convert them yourself?
Such a great video. Visual explanation of what are "lift, gamma, gain, offset" is the best that I've seen. And this tip on how to "clip" grey whites to actual whites at 1:10:27 is super useful.
Thanks so much! Glad you found it helpful! 🙌
Awesome, this tutorial helped me answer almost all my questions that I had! Big ThumbsUp!!!!👍
Glad it helped!
You just open the completely new world to me. Thanks a lot)
Ah that's great to hear! Enjoy!
Great video! First video I've seen making use of the ACES transform node. Anything that gives us more control is always welcome.
Thanks! I agree, I love the post processing part of the process so raw EXRs are my go-to render format.
if your open EXR is already ACES CG, you can technicly apply an IDT (input device transform) without using ACES Transform node, because this way you are restrain to RGB or other color space like Rec 709 or P3 depend of your choose, you must also apply HDR to your node to having acces to those extra 16 bit or 32 Bit dynamic range that the open EXR deliver, it work also with regular LINEAR wide RGB color space... usually i use ACES CG for compositing element or texture on my 3D model, but if the render engine use a true PBR lighting or spectral lightning it's almost like shooting on a real RAW camera or Linear wide RGB RAW file, so ACES 2065 over ACES CG texture should work.
Hey,
To the part about doing automatic editing from the animatic to the actual render. If the sequences have exactly the same frame numbers and length, you could render them out into two separate folders with the exact same names. Import just the animatic to Resolve. Then edit on the animatic, after which you can paint over the files and choose "relink clips / media". Choose the finished animation files. This will change the animatic files to the rendered files and your edit is done.
So basically a proxy file workflow.
I don't know the specifics of your workflow, so maybe this doesn't help at all!
this information is GOLD
Thanks!
Thanks so much!
Such a nice video dude!
Lukas! Thanks so much! Appreciate it!
You are a god send!
Glad you found it helpful!
I said it a few times, you're the best teacher out there.
Thank you so much!
This is exactly what I need for an upcoming project. Thank you!! ☺
Chanelle! I'm glad it helped! 🙌💙
Such a great tutorial. I'm working with Octane in Blender using an ACES workflow and have been looking for information precisely like this on how to combine passes and edit them in Resolve. Thanks!
Thanks so much! Glad it helped!
If you're doing any color or exposure corrections, like offset, gamma, gain, or any of the other knobs I reccommend adding 2 more color space transform nodes, where you go from whatever color space and gamma you're in (for example SRGB with SRGB) to 'Davinci Wide Gamut' and 'Davinci Intermediate' for the gamma. Then placing any and all corrections after that first Color space transform, then a second Color Space transform with the exact opposite settings, going from Davinci Wide Gamut and Davinci Intermediate back to SRGB. It's an even larger color space than ACES and way more forgiving making color corrections and helps prevent clipping more than just applying color corrections in SRGB or ACES color space
You can add color space transforms and go into Davinci Wide Gamut and Davinci Intermediate, there would be nothing wrong with doing that, but there is no benefit in doing this.
Just transforming into a wider color gamut does not increase the colors in our footage or renders.
And because, currently, there are no display color spaces that can display all the colors in either ACEScg or Davinci Wide Gamut (humans can't even see all the colors in these wide gamuts) the colors are still limited by our output display space. So taking an ACEScg render, converting it into Davinci Wide Gamut, cranking up the saturation, would not give you any benefit because you still have to output to some display space. sRGB colors are only as saturated as sRGB colors. And P3 can only be as saturated as P3 colors allow. As far as clipping goes, you really shouldn't be clipping colors in either Davinci Wide Gamut or ACES; that's going to cause problems when it's time to export. We have gamut mapping and parametric gamut mapping with ACES transform nodes so we can adjust the way the colors are being "pulled in" from clipping. Again, no real benefit to using Davinci gamut and gamma.
Also, because I'm using ACEScct for the color correcting, which is a log gamma curve, a lot like Davinci Intermediate, there's really no benefit do doing what you're saying in terms of the way the tools on the color page react. It's not as though we're trying to color grade in Linear gamma, which would be much less intuitive.
The only reason I can think of transforming into Davinci Wide Gamut and Davinci Intermediate is to use a specific LUT that was designed to work in Davinci Wide Gamut instead of ACEScct. The LUT wouldn't be exactly the same, but it could be fine to use it this way.
this might be the best video on youtube
I was waiting for that, thank you for the clear explanation
Glad you found it helpful!
@@igobyzak Perhaps the next useful lesson would be to take apart the test project and its coloring with an explanation of the workflow. What do you think of this idea?
impeccable timing! 👌
Haha! Glad it could help!
Hey Zak, brilliant video. I've been playing around with Fusion lately and was wondering if there's a workflow for Multilayer EXR? I understand that you can use a Split Script to Split the Loader node into multiple passes but say if I want to replace the initial file, would I be able to do that without creating another Loader node and then Split it again? Hopefully I make sense. Thank you!
Sorry for the delay! I thought maybe selecting all of the nodes created by the split script and going to the Inspector-File-Filename and selecting the new multichannel EXR would do the trick. But it looks like that doesn't update all the nodes, only the main one selected. So I guess I'd just copy the new EXR filename path and paste it down the line in each of the nodes.
Awesome awesome video. Thanks so much Zak!!!!!!!!!
Thanks!
So great. Thank you very very much for this!
Thanks! Glad it helped!
This is great. Thanks for sharing. Could you possible quickly summarize why you choose Davinci YRGB Color Managed over ACES cct for Color Science?
Thanks! This is something I need to look into again, but I think I preferred this method because I was having issues importing brand graphic sRGB images. It's pretty common in my work to have brand graphics overlay the animation and I think I was having trouble getting those sRGB colors to remain unchanged. But I should look into this workflow again; it's possible I was missing something.
It took me years to figure this stuff out and you just giving it away for free.
You are making it to easy for everybody else 😂
Haha! That's the idea!
this is insaneee
Man such a helpful video, I finally saw how gamma-offset-gain transcribe to the curve. Also, thinking to post process still shots in Resolve too now, rather in PS - ACES transform node workflow looks quite smooth. Also, PS seems to produce some color artifacts converting with OCIO. Thanks!
Thanks! Yeah I've been processing still renders in resolve. I find it way better than dealing with ACES in Photoshop.
Wow! such a great tut. Thanks!!!!!!!!!
Thanks!
Thanks zak !! For this awesome explanation video ❤🔥
Thanks for watching!
man, huge thanks
Thanks for watching!
Have been looking for a final push from AE to Resolve, and this is it :) Thanks for a great tutorial! What are the main benefits of a complete multipass EXR setup, like you show in this tutorial? At our studio we usually only use cryptomattes and puzzel mattes for picking elements in the shots when colour grading. How would a fusion setup look like with cryptomatte and puzzle matte?
Thanks! Rebuilding the beauty with all the render passes just gives the ultimate control over the final image, especially if completely different colors for objects would/are needed. Product renders, for instance, where the product line has different color options, only one full multipass render would be required. Changing the color on the diffuse pass and GI pass would mean that reflection colors are still correct, as opposed to only using puzzle or cryptomatte masks on the beauty pass.
You can add additional Media Out nodes in the fusion tab and then "Add Source" in the Color Page nodes to bring your puzzle/cryptomattes into the color page for specific grading.
Thank you for the explanation :)@@igobyzak
This was incredible! It was so useful and well explained. Thank you so much, Zak! Wow!
I have two questions:
So, at the end of the day, if I use the default, non color managed "Davinci YRGB" workflow and set the "Timeline color space" to AcesCCT, and manually adjust the IDT and ODT with the Aces Node, will the HDR color wheels behave the same as in the "Davinci YRGB color managed" workflow with custom adjustments, as you showed in the later part of this video? Basically, there is no difference, right?
Since you're a photographer, I believe you are familiar with Nik software and its amazing effects. What is the alternative for their "Output Sharpener" plugin? I find that its "Structure," "Local Contrast," and "Focus" effects are unparalleled by any other sharpening or enhancing tool. Do you have any idea how to achieve the same look in Davinci?
Thank you once again for your time. I appreciate it! Love you, man !
Thanks so much for watching!
For your first question, in general, yes that's correct, but you have to be careful what your IDTs are. Like I show in my first example, if I have the timeline color space set to ACEScct and I'm making adjustments to the ACEScg image, the tools won't feel very natural because we have a mismatch between our timeline color space and the color space of our footage. In order for the tools to "feel correct," you'd first need to go from ACEScg to ACEScct, making adjustments and color grading here, then on the timeline ACES Transform go from ACEScct to sRGB (or where ever you're wanting to display on). This way our footage is now being corrected/graded while it's in ACEScct, which is our timeline color space and dictating how the HDR panel is operating.
For the second question, I've actually never used Nik software (I'm a Capture One and Lightroom dude) so I'm not really familiar with those exact tools. But I would look into the general sharpening section in Davinci's color page, along with Midtone Detail slider. There's also the "Texture Pop" node in the studio version that may be what you're looking for.
I hope that helps! Thanks again!
Great video, now my understanding is that if i want to export my render as a HDR video then i would do Rec 2020 format, not really sure what gamma tag to use for that. Can you make a vid on how to do same thing but for hdr output workflow for youtube, this seem to be a very annoying and confusing process for hdr content creation.
HDR color grading and output gets a little tricky. The question is, do you want your HDR output to look exactly like your SDR (sRGB or Rec.709) grade? Or do you want your HDR output to take advantage of more colors and higher brightness value of the HDR format? In order to actually see proper HDR in Resolve, I believe you need a dedicated output signal to an HDR compatible monitor. A card like a Deck Link from Black Magic will send an untouched video signal directly to the monitor, bypassing the operating system's color management. This is really going to be important if you want to do a dedicated HDR grade on your render. Output settings are going to depend on the final destination of your render and what monitor you're using to grade your HDR output. If your dedicated HDR monitor is only capable of 1000nits, I don't believe you can accurately grade to an HDR format above this nit level. So you'd want your final output to be something like Rec.2020 color space with whatever gamma your final delivery would use (and your HDR monitor is displaying). I believe you've got a choice between HLG and PQ (ST2084).
But I've never done any of this, so take all of this with a grain of salt.
@@igobyzak so I was thinking is to have it look same as srgb but with higher value/brightness range since render outputs 32 bit color depth and usual non HDR video just remaps these values to something it can display, my idea was to utilize this brightness data for HDR output.
Also I don't really understand why you have to get specific hardware to display HDR content from PC. Media players have been doing it for years like VLC and klite codec pack and UA-cam can play HDR on your PC with HDR display so why would davinci playback of HDR content require specific hardware?
Thank you very much for this video. I've been trying to wrap my head around colorspaces for some time... I wanted to ask you what do you think about AgX and the workflow associated with it? It seems to me that it's much more artist and userfriendly than ACES... I've been experimenting with it for a personal project, wondering what other people think and how they use it... Thank you once again for your time and efforts!
I haven't really messed around too much with AgX but I know people seem to like it. One thing to remember though is that the text and reasoning surrounding AgX is based on the ACES 1.2 standard, before ACES implemented the gamut mapping option. I think before this happened, AgX provided a solid alternative to ACES, but I don't really think, in my work anyway, it's as necessary these days. We have more control over hue shifts and contrast with ACES now.
Omg love it
as always 💯
Thanks so much!
Thx🔥🔥🔥🔥
Thank you for watching!
hi, great tutorial but I am struggling with the Deliver tab - I keep getting the same issue - Render Job failed as the current clip could not be processed - Failed to decode the video frame. - not sure what setting needs to change - if I export single frame in MP4 r EXR it works fine but the only waty to export stills atm is through screen grab.
Not sure what the reason is for this. You can try setting the render speed in the deliver tab to something much lower than the default "Maximum" setting. Also, from the Color tab, you can add stills to the Gallery then export stills from the Gallery.
Thanks a lot! but when i use project settings method the acestransformnode looks very dark in fusion part .Can't this method be used in the fusion part?
It depends on what you're trying to achieve. You can use an Aces transform node in fusion, but what are you transforming to and why? Are you transforming to sRGB and exporting from Fusion? If so, that should work just fine. But if you're transforming to sRGB then going to the color tab for corrections then exporting through the deliver tab you may be applying incorrect transforms or applying double transforms. Hard to say without more details.
@@igobyzak Thank you for your reply.Using Aces transform node alone it works very well both in color tab and fusion tab like in your video. After setting color management in project settings, I connected an Aces transform node from ACEScct to sRGB in the color tab and it works fine too. Then I go to the fusion tab, connect a same setting Aces transform node after the MediaOut node, the color became very dark in the fusion viewport.Did I do something wrong?
What could be the issue when the color doesnt match my viewport? They lack the color punch and are slightly more dark. it was a still though. But I assume that you can just save out as a png and the color should still be the same?! EDIT: Darn monitor color profile.....
Are you using any other Post FX in Redshift, like Photographic Exposure, curves adjustments, or LUTs? Those won't carry through in an EXR export, so you'd have to recreate those modifications in Resolve. But you're correct, if you save a PNG, the ACES transform to sRGB will be baked in, along with any of these adjustments you've made.
It should be pointed out to new artists that you don't need to worry about this at all until you've learned a million other things first. I've seen so many terrible renders with bad lighting, materials, & composition, the wonkiest of camera moves and they're like "I rendered this w ACES". My guy..
It's awesome to get into CG, it's super fun and can be a great career, but trying to work with in ACES color space before you're ready is like putting rockets on a bicycle. You can just work in 32bit Linear if it's that important to you. But you need to get up to that 97% before that final 3% makes any difference. The vast majority of the amazing motion graphics you see on film and television is not in ACES. I'm not trying to discourage anybody, I'm just saying there's no need to get in the weeds with color spaces off the bat. Focus on the fundamentals.
Well that's not true at all. If it's industry standard... which it is then you damn sure need to know it. I'd say understanding color, color spaces and light is the first step. Not the last.
Srgb images will look like crap too, has nothing to do with colorspaces.
@@sethrichardson6042 I mean, I’ve been doing this for twenty five years. And you snuck color and light, into it as if that isn’t exactly what I’m talking about. You don’t need ACES to achieve good lighting or good use of color. I’m saying that understanding color theory (and a million other things) is significantly more important than color space. People think this is a short cut. It isn’t. If you don’t even know what a split compliment is, then you’re putting the cart before the horse. You can get in the weeds with color spaces when you’re ready. But unless you’re working in actual film production, it’s not likely that a shop you land a gig at is using ACES. In fact, the vast majority of mograph is made at 16bit srgb. And not even linear.
I’m not telling people it’s not important, I’m saying working in ACES won’t make bad work magically good. And for new people, there are much more important things to learn. People don’t even know what a straight fill is and want to work in ACES. It’s silly.
I get what you're saying but I don't think it really applies here. You say you need to get that 97% before the final 3% makes any difference, but that's not at all what aces does and it doesn't really make sense. Understanding how color works in 3d is very important, even if you decide not to use aces, and it's not some "final touch" thing, but it helps you understand how to light, tonemap, color correct, composite, texture, everything really.
@@sr1488 When you know what you’re doing it really only is the icing on the cake.
And all of those things you’re mentioning about light and tonality, aren’t exclusive to ACES. My point from the very beginning was never that it’s not important. My point was that people who are starting off have much bigger fish to fry, and that there time is better served learning the fundamentals.
@parttimehuman right but these things aren't mutually exclusive. It's not like you can only learn about aces or you can learn fundamentals of composition, color, etc. Learning about aces can teach you about color and how it works in the rendering world, because it is quite different than in the real world. Learning about how renderers actually work is a fundamental part of 3d and just because a lot of studios get by without understanding it (believe me, I know- it's very frustrating to work at those places) doesn't mean you should ignore it until you are this fully complete artist you envision.
Export to social media? Saying that doesn’t exactly suggest I’m about to watch a professional at work.
Nice one again Zak! Great to see you put such effort in and make thorough videos on workflows rather than condensing it down to speedrunning button clicks to final result.
I have some info I'd like to share though, dm'ed you again on acescentral;)