The MAGIC 🪄 of ACES in Final Cut Pro! | 10X Your Color Grading!

00:00 - Intro
00:25 - What Is ACES?
2:08 - The benefits of ACES
3:44 - Final Cut Pro Workflow
9:09 - ACES Workflow LUT Kit
10:00 - Creating ACES LUTs in Davinci Resolve
14:45 - Using your created LUTs in Final Cut
15:42 - Color Compression Issue
17:37 - Conclusion
18:36 - My Davinci Resolve Management Settings
18:53 - Ending
ACES Workflow LUT Kit: rb.gy/tcpnl
Free FCPX Adjustment Layer: rb.gy/nvpwj
Davinci Resolve (Free Version): rb.gy/ltif9
My Notes: rb.gy/zpj15
Video Color Checker (1st Choice): rb.gy/gdwpq
Passport Video Checker (2nd Choice): rb.gy/kmz23
All My Gear: kit.co/TwoArro...
ACES is simply a universal ''color space' that can be shared by multiple camera brands and shooting profiles to give you the ability to camera match, white balance with voodoo magic, make exposure adjustments like you've never seen before, and give you extreme latitude when manipulating colors. In short, ACES is simply a cheat code that is available to all!
‼️DISCLAIMERS
1. ACES is free for anyone to use, in this workflow I show you how you can create your own LUTs and use them in Final Cut to work in ACES. They are not official, they are a solid way to bring ACES into your editing software of choice, mine continues to be Final Cut.
2. I've included a paid ACES Workflow LUT Kit (rb.gy/tcpnl) , this kit includes conversion LUTs I've created designed to give you the flexibility in choosing your exposure value. These conversion LUTs were designed to retain the highest amount of dynamic range.
Thanks!
🎉If you are as excited as I am about using ACES! Let me know In the comments below!👇
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[@TheJohnsonCrew]

Wow!! Ok you just taught me so much I didn't know!! This is an awesome video!!

[@iamericlenz]

Interesting idea. I thought of something similar but find the approach too clunky. Plus, I recommend staying away from the camera LUT. Final Cut puts the camera LUT at the first instance of the signal chain, leaving you no chance to recover highlights. As you said in your video, "When adjusting the colours of your clip, they stay within limits" - this results from the LUT clipping values at 0 and 100 (or 109, depending on your LUT). The same happens with the camera LUT. Long story short, if you expose improperly, you cannot rescue anything when the camera LUT is applied since it will clip at 0 and 100 (or109), too. To correct that, you would need to get hold of the video signal before the camera LUT and that's impossible in FCP.
If you set up your signal chain (just like you would set up your node tree) in a way that allows for corrections BEFORE the device input transform, you will have much more flexibility. Try using an instance of colour wheels before the custom LUT (s-log to ACES), then make all your adjustments in the middle and have another custom LUT (aces to rec709) at the end. Using this approach, you can get rid of adjustment layers.
I think your intention was to ensure the proper order of operations for the signal processing, but the inspector on the clip-level works from top (input) to bottom (output), too, just like your node tree from left to right.
Then, you could save the signal chain (pre-loaded with the proper aces LUTs) as a preset, and Bob's your uncle.
Hope this wasn't too all over the place. If you want to geek a bit about colour, feel free to shoot me an email :)

[@iamericlenz]

Plus, if you set up your signal chain as discussed, there is no need for different exposure versions of the LUTs. You would correct exposure before the video even hits the input device transform to aces. :)

[@Razertw]

In Final Cut, you can use a Custom LUT effect to transform from log, and put your color grading layers above it. This way you can edit your footage before the LUT.

[@matoilijic]

Thank you!!