Hey Dude. Nice video, really appreciate it. It helped me get my Houdini renders looking nice importing to AE. But, I've noticed the colorspace really only works in 32bpc, and whenever I try to add a Brightness/Contrast to it, it gets all funky because I think the Brightness/Contrast is an 8 bit effect. How are you adjusting this information in AE with your renders? I have another render from Houdini to AE and it's in 16 bit and this doesn't affect it, I can use Brightness/contrast, so I'm not sure what's going on.
Yet, if you do it properly, your images will look gorgeous. This is standard practice for VFX work. Source: Comp lead at a VFX studio who sets up a lot of this colour workflow for new projects.
I completely agree with you. I've been watching youtube videos literally ALL day for this stupid process lol. Can't even finish my project because I'm having trouble applying all these settings between redshift and AE. It's incredibly irritating.
Dude thank you. This was so thorough and well-explained. I've been trying to untangle color management and working with EXRs etc in AE forever. Finally AE has implemented this. Really great walk through!! Liked and subbed.
Omg I needed this so bad... literally just saw this as I was opening an AE project I have to deliver next week that can use this (instead of the janky hack I've been doing). Thank you sir!!!
This video is awesome!!! I will like to adress a small issue just in case. I found this problem with my cg and workflow and is that you have to convert the interpretation of the cg footage to 32 bit if you are working with EXR because if no the color appear compresed
Just a small suggestion with exporting the final thing for a colorist, You can export in pro res as well, it's lossless and preserves all the details and the file sizes arent huge like EXR
ProRes is not lossless, it is "visually" lossless. Tiff, EXR, DPX etc are lossless formats. Definitely check with the post house to see what they would like to receive.
This is a great video with tons of useful information! Thank you so much. On a current VFX project I'm working on I've been utilizing exclusively a 32 bit ACES workflow within AE, and this helped me get a grasp of setting things up. That being said, I have been runing into some issues lately that I'm not 100% sure about the best approach to remedy it. I've had several shots where I'm wanting to overexpose parts of my image (for example, an interior scene with a window that I want blown out to be more realistic). The issue I've been running into on these shots is that upon making the final render, those bright areas end up being clamped down to a grayish-tone that looks very bad and incorrect. I'm assuming it has something to do with the high dynamic range of a 32 bit project, but I'm not entirely sure on the best way to approach this. So far, the only fix was to reduce the exposure of those bright areas until the clipping went away, but then I no longer had the overexposed effect I was intially going for. I want those areas to be over exposed, but I don't want them being clamped down to a slightly grey value, I want them to appear white or darn near close to it. Any ideas on a proper workflow for something like this? Or do you have any videos/courses that go over that? No worries if not, and thanks in advance!
So it sounds like what you're looking for is some sort of highlight rolloff. This is often done by tone mapping the shot at the end, maybe by applying a lut of some sort. For example Blender has tone mapping built in with the "filmic" color profile. There are ways to use that filmic profile in after effects. Overall, this is all a bit out of my wheelhouse but hopefully some of the stuff above provides some keywords/concepts that might get you started with some research.
This is SUCH a helpful video. I have come back to this multiple times now for reference. Thank you so much for making this. You're a really talented educator!
Thank you for the concise tutorial! My only add is for images downloaded from the net/ authored in other 2D software The correct IDT to use Utility/ Utility - sRGB - Texture to transform Images into the ACEScg Colourpace
For anyone that doesn't have an explicit "Output" in the render view. After clicking show all on the colour profiles, the only sRGB that matched was "sRGB-Display/Un-Toned Map"
Great Video, thanks a lot. What I noticed when working with ACES: there are no real whites, for example when creating new solids. Plus, all the grading steps behave completely different to the the usual srgb workflow. Maybe you can cover your typical grading steps in a future video? :)
Thank you very much for sharing. I have roughly understood it. I also want to ask a question. The picture effect in my AE interface seems to be different from the effect of the video/picture opened after export. The exported one is grayer than the effect in the AE window. I have set it up according to the tutorial, but I still have this problem. I don’t know if you can solve my question. Thank you very much
Thanks for this clear and concise tutorial! Question: are you viewing in ACES/sRGB because that's what your monitors are set up for? Are there any issues with this workflow and Mac monitors setup for "Display P3"?
Raw footage needs to be "debayered" by a software that can debayer raw footage. I'm not quite sure if After Effects can do that. What I would do is first take your footage into Davinci Resolve (since it definitely can debayer blackmagic raw), set resolve to use ACES in the color management, and make sure your ODT is set to none. Your footage should automatically convert into aces without needing to select any IDT for it. It will look wrong in the viewport (too contrasty probably) but that's ok. Just export an exr sequence of the footage. This EXR sequence is now in the ACES color space, so you can bring it into After Effects and set the IDT for the exr sequence to ACEScg. ... I know that's a lot. But it will work! Good luck!
After Effects now has the OCIO Look Transform and OCIO CDL Transform as effects under the Color Correction category that use OpenColorIO to process color. You don't need to enable OpenColorIO color management in the project to use these effects. plz. make a video with this topic
Finally i used to put aces as a .cube luts on Photoshop limited to a 5 luts only which i could only play with opacity and rendering took forever with a lot of crashing
Where can i get the OCIO Color Space Transform? i downloaded ocio for after effects 2022, but it doesnt show me that effect neither de especific name ACES-ACEScg
Say I want to use ACES workflow, but I need to key green screen footage as well. How do I do that? I heard keylight doesn't work well in linear compositions. (Also, the footage can be shot in slog or cinetone, which one is better?)
great thank you for this tutorial, I have a 4444 XQ MOV file, but when I export it as a JPG from After Effects or Nuke and import it as an image plane in Maya with the camera, the color changes when I render it in Arnold. I'm working in ACES in Maya 2022, and I've set the camera color space to sRGB, but the color still changes. I was wondering if I might be exporting it incorrectly as a MOV file. How can I correct this issue? need your guidance on it thank you
Thanks Jacob. What's the advantage of using ACES? I recently did some freelance and ran into trouble using ACES. I asked my colorist friend about it and he basically said to never use ACES unless I it was specified.
Hey Kyle, I would definitely give this guide a read as the author, Chris Brejon, can explain things better than I can. It's gets into a lot of detail so be prepared! But it's good information: chrisbrejon.com/cg-cinematography/chapter-1-5-academy-color-encoding-system-aces/
Honestly, in the VFX world... ACES is your lord an savior. Especially if you have to work with other shops/crews/vendors. With all the camera gammas/gamuts going around, managing a viable workflow between camera footage, cg elements, compositing and grading... you go mad. Enter: ACES - something everyone can agree on. It's like an universal law on how to treat color and everything. Import footage from a RED, from an Alexa and some stuff out of Maya/Blender/Whatver and without giving it much thought... it all lives in the same gamma and gamut. You dont have to think about LUTs and matching. It just works. And be careful when listening to colorists that were born before 1985ish. The only know their LOGs and are super confused when they have to start grading on something thats close to a Rec709 LUT... i know a lot of colorists that kind of are stuck in their craft/art. They are artists and they have an excellent eye for composition, color and tone. But a lot of the time they are stuck in time at the point where they had their breakthrough. They dont bother with ACES.
My outputs appear a little dull when viewed in macOS's Finder. I've tried every combination possible, from OCIO 1.2, 1.3, and even custom OCIO profiles. They look fine when I bring the image back into the OCIO-managed AE project, but If I bring it into an Adobe Color Managed AE project, they look dull just like it does in Finder. Does anyone else have this issue??
If you choose a non-linear Output-Transform (Like V-Log, LogC, S-Log etc), DON'T export to Half-Float/16bit EXR as OpenEXR was only ever meant to store LINEAR color values. Colorvalues are stored as floats and those are being "cropped" by 16bit EXRs... but Log footage needs the full float precision to keep the color details. So by exporting to a Half-Float EXR you are basicly losing a lot of color info, especialliy in the highlights. Its similar to exporting in 8 Bits. Forr iinear data, this doesn't matter as you just lose an inpercievable amount of colorprecision... in log, this tiny bit of precision multiplies exponentially. It's a very math heavy topic and hard to wrap your head around if you haven't dealt with colorspaces for a long time ;) If you want to export Log footage, go with DPX, ProRes4444 or an Avid equivalent.
@@InLightVFX thing is, linear values can be above 1.0, so a brigntess of 12 is no problem for EXRs whereas log values are compressed to the space between 0 and 1 and therefore there's a big difference if the value is 0.985 or 0.985734
@@freeze102 Ok, so since the log values are using a much smaller range of all possible encoding values (0 to 1) there needs to be more precision. Am I understanding that correctly?
"If you want to export Log footage, go with DPX, ProRes4444 or an Avid equivalent" All major camera brands, Sony, Canon, Panasonic etc encodes as standard LOG video footage in 10 bit 4:2:2 h265 files (or h264), some in 4:2:0. So no need for ProRes 4444. If the original is RAW video 12 or 14 bit, maybe. If not what's the point?
@@InLightVFX Thank you for the fast response. I think I was getting confused with the input media. I kept thinking you'd need to select a linear format for the input but of course that's done in the workspace and the AE needs to know what the format was from to convert it correctly to that colour space. Makes sense now.
@@InLightVFX Great, your videos are very clear and concise keep up the great work. Also you don't know anything about the OCIO management system do you. I'm trying to figure out how to add V-log to the list of logs in the presets that are available within Maya as it only seems to list Arri Sony and Red.
Still the best explanation of ACES in AE to date!! Have an issue tho... When exporting a clip with the output set to sRGB, and then bringing it back into a new AE-project in sRGB space - the clip appears a bit dark... The white point was around 95% in grading, but comes in at around 80%. Can't wrap my head around this... Help😅
@@christopherstoffi Thank you! What file format are you exporting and then reimporting? You might try right clicking the imported file and go to "interpret footage" and then try fussing around with the color settings?
@@InLightVFXthx for the reply! Project is set as in the video, exporting it as ProRes 4444, Output - sRGB. Importing then into project in adobe color space in sRGB, interpreting it as sRGB. I can bring it back up with a simple levels adj, but just becomes a bit of a hassle with a lot of clips…
Maybe I missed it, but I think you forgot to mention that you have to linearize the Working space from the project definition. Otherwise, the import will apply the internal Afx transformation color to all the imported footage.
@@InLightVFX Yes, that is the one. But the issue is this: you explain very nicely what a linear workflow is and then jump into Afx and say: do this. You never mention that the previous explanation points to selecting that specific configuration in Working Color Space at that point of the video (I will explain this later you said) ;). As you can see, I missed it the first time I saw the video. Anyway, thank you so much for giving some light on all this mess.
One issue I'm having with this workflow is when I work with a plugin like Maxon Universe. I think the plugin, and many others, are not designed to work in OCIO so they don't look right. Is there a workaround for this that anyone knows of? After Effects built in effects work fine.
I was super excited about this but I think I prefer the old workflow where I stacked OCIO adjustment layers I could just copy/paste. Maybe I’m just being stubborn!?
The big problem with ACES in AE is that the "Display Color Space" doesn't preserve RGB in native graphical elements like text, shapes, solids in AE.... Thankfully this method of making adjustment layers does work around that... (In my understanding the adjustment layer with Color Space Transform only applies itself to layers with an interperated input source. Which solids / text / shapes does not have.) But Adobe needs to fix this "display color space" or ACES in AE won't work intuitively with the majority use-case for AE which is motion graphics(!). It could be called ACES hybrid.
You should be doing color correction in a large color space (a color space with a large gamut). The ACES color spaces are all quite large and good for color grading in. Once you apply an output transform, you color space will be squeezed down and made smaller. So you don't want to do color grading after the output transform. You could convert from ACES to another large color space for color grading (for example, you could convert from ACES to Davinci Wide Gamut, which is a common color space that many colorists use). Overall, the output transform should always be the very last thing in the sequence.
You will have to configure Blender for ACES and then you would be able to render in the ACEScg color space out of Blender. Here's a tutorial about the setup process: ua-cam.com/video/B7FWNNDXBl0/v-deo.html
To celebreate 50k subs, the files are now FREE for everyone! Just use code 'FREE' at checkout: inlightvfx.gumroad.com/l/AcesAE
Hey Dude. Nice video, really appreciate it. It helped me get my Houdini renders looking nice importing to AE. But, I've noticed the colorspace really only works in 32bpc, and whenever I try to add a Brightness/Contrast to it, it gets all funky because I think the Brightness/Contrast is an 8 bit effect. How are you adjusting this information in AE with your renders?
I have another render from Houdini to AE and it's in 16 bit and this doesn't affect it, I can use Brightness/contrast, so I'm not sure what's going on.
Nice!! Cute creature AND valuable workflow!!! Thanks so much for making these videos, this is awesome!!
damn thats fast
Hey, thanks so much, Asbjørn! It was super fun to use the kit and thanks for letting me play with it!
When I saw the robot I was like - isn't this a Polyfjord creating? Looks familiar, I check the comments and here you are.
It is just crazy to me how convoluted this process is.
Yet, if you do it properly, your images will look gorgeous. This is standard practice for VFX work. Source: Comp lead at a VFX studio who sets up a lot of this colour workflow for new projects.
@@PeterJansen I’ll take your word for it.
I completely agree with you. I've been watching youtube videos literally ALL day for this stupid process lol. Can't even finish my project because I'm having trouble applying all these settings between redshift and AE. It's incredibly irritating.
Same thing I thought. Don't think they had the end user in mind for this process. I appreciate the video though.
If you think *this* is convoluted, wait until you get to actual color science. 😵💫
Find someone to love you, the way InLightVFX loves ACES ;-) Very well made tutorial as usual.
Thank you for the great and precise overview. I'm a colorist and have been sending this to VFX artists and it's been very helpful in explaining ACES.
That's high praise from a colorist, thanks for sharing it!
Finally a proper ACES workflow in After Effects ! That's a relief
Only took them like 6 years
Another banger! Great video Jacob
Hey Alfie, I appreciate it!
So glad your making videos again! All super high quality. Color space with vfx has always been something I’ve struggled conceptualizing.
This is brilliant man!! you explained it so well, probably the only tutorial one needs to setup aces workflow in AE.
Thank you!
Yeeeeees this is what we like to see! Short and too the point, and finally ACES in After Effects, great round up as always!
Dude thank you. This was so thorough and well-explained. I've been trying to untangle color management and working with EXRs etc in AE forever. Finally AE has implemented this. Really great walk through!! Liked and subbed.
@@benmartin5869 Hi Ben, glad you found it so helpful! Thanks for the like and sub :)
I was searching for this info and this video is great! You did a great Job! Much appreciated, suscribed. Thanks!
This overview is absolutely pure gold for more reasons than one!
wonderful!!! bravo !!! melting brain awesomeness good vibes in the clarity of giving the information !
Thank you, and thanks for your support on Gumroad :)
Excellent tutorial! For a very complicated workflow, you've done a great job explaining it!
You are goated! Thank you for covering this so quickly. Mad hype to not have to jump through hoops just to achieve an accurately color matched image
finally I know and understand completely workflow, thank you!
Very happy to hear that Alex! You're welcome.
Easily the best tutorial online. Great job explaining everything!
i cant thank you enough!! even though i still don't get it you helped me with the basics thanks
Absolutely! Glad it helped you start to understand things.
Omg I needed this so bad... literally just saw this as I was opening an AE project I have to deliver next week that can use this (instead of the janky hack I've been doing). Thank you sir!!!
Perfect timing!
@@InLightVFX none of my Patreons are as useful as yours. You da man! 🙌🏽
@@johntnguyen1976 I'm glad to hear that, thanks for your support!
finally, i was using the opencolorio plugin before but this is so much nicer.
I'm very happy to have found this video today. It's very impressive！！🐿
This is SO helpful. Thank you!
Man, you´re genius, thank for this extensive knowledge about the crazy Color Management World!
Of course, thank you for watching!
Great video ! I've been waiting for AE to implement ACES into their software for too long now
Thank you for this video!!! So helpful and TO THE POINT
This video is awesome!!! I will like to adress a small issue just in case. I found this problem with my cg and workflow and is that you have to convert the interpretation of the cg footage to 32 bit if you are working with EXR because if no the color appear compresed
I've been struggling with this issue for the past 5 days and this was exactly the answer. Thank you very much!
You're in resolve, you're only one step away from dumping musty old After Effects for Fusion :). Great tutorial, sending it to my AE friends!
Oh trust me, I've been tempted to dump it many a time :)
Just a small suggestion with exporting the final thing for a colorist, You can export in pro res as well, it's lossless and preserves all the details and the file sizes arent huge like EXR
ProRes is not lossless, it is "visually" lossless. Tiff, EXR, DPX etc are lossless formats. Definitely check with the post house to see what they would like to receive.
Thank you, this finaly got my head around it.
Hehe, it's nice you made a video about it!!! I really like it so far, I hope they will release non beta version soon :)
Thank you so much for the clear explanation of the workflow.
Literally saved my day!
This is a great video with tons of useful information! Thank you so much.
On a current VFX project I'm working on I've been utilizing exclusively a 32 bit ACES workflow within AE, and this helped me get a grasp of setting things up.
That being said, I have been runing into some issues lately that I'm not 100% sure about the best approach to remedy it. I've had several shots where I'm wanting to overexpose parts of my image (for example, an interior scene with a window that I want blown out to be more realistic). The issue I've been running into on these shots is that upon making the final render, those bright areas end up being clamped down to a grayish-tone that looks very bad and incorrect. I'm assuming it has something to do with the high dynamic range of a 32 bit project, but I'm not entirely sure on the best way to approach this.
So far, the only fix was to reduce the exposure of those bright areas until the clipping went away, but then I no longer had the overexposed effect I was intially going for. I want those areas to be over exposed, but I don't want them being clamped down to a slightly grey value, I want them to appear white or darn near close to it.
Any ideas on a proper workflow for something like this? Or do you have any videos/courses that go over that?
No worries if not, and thanks in advance!
So it sounds like what you're looking for is some sort of highlight rolloff. This is often done by tone mapping the shot at the end, maybe by applying a lut of some sort. For example Blender has tone mapping built in with the "filmic" color profile. There are ways to use that filmic profile in after effects. Overall, this is all a bit out of my wheelhouse but hopefully some of the stuff above provides some keywords/concepts that might get you started with some research.
@@InLightVFX
Thank you for the reply! And what you said sounds like a good lead to look into, thank you so much!
This is SUCH a helpful video. I have come back to this multiple times now for reference. Thank you so much for making this. You're a really talented educator!
What a headache with this ACES workflow really! It was way easier earlier with full sRGB. Thanks for the tutorial.
Thank you for the concise tutorial!
My only add is for images downloaded from the net/ authored in other 2D software
The correct IDT to use Utility/ Utility - sRGB - Texture to transform Images into the ACEScg Colourpace
These color space videos are so crucial. Thanks!
Great video and explanation! Thanks
For anyone that doesn't have an explicit "Output" in the render view. After clicking show all on the colour profiles, the only sRGB that matched was "sRGB-Display/Un-Toned Map"
Amazing description, can't thank you enough!
Thanks! very usefull tutorial
Thank you, man. You helped me a lot.
I've been learning about color managed workflows and messing around with AE old horrible system. Perfect timing for this to come out
Fantastic. Really nice explanation.
Thank you very much for bringing more clarity to me.
You're welcome!
Nice video, it is useful for my work, Thank you.
Great Video, thanks a lot. What I noticed when working with ACES: there are no real whites, for example when creating new solids. Plus, all the grading steps behave completely different to the the usual srgb workflow. Maybe you can cover your typical grading steps in a future video? :)
Thank you very much for sharing. I have roughly understood it. I also want to ask a question. The picture effect in my AE interface seems to be different from the effect of the video/picture opened after export. The exported one is grayer than the effect in the AE window. I have set it up according to the tutorial, but I still have this problem. I don’t know if you can solve my question. Thank you very much
Thanks for this clear and concise tutorial! Question: are you viewing in ACES/sRGB because that's what your monitors are set up for? Are there any issues with this workflow and Mac monitors setup for "Display P3"?
mate you're a star thank you
amazing video! very straightforward! very well done!
Very nice! thanks for the explanation
i finally get ACES in ae THANKS!!!!
Color management in AE was always alien to me, Untill now, thankyou!
This might be the best video I got on 2024
Thank you, I appreciate it :)
In the OCIO effect is there a quicker way to scroll down the many input options?
What media color space/input transform should I use to work with braw footage (shot with a bmpcc4k) in this workflow?
Raw footage needs to be "debayered" by a software that can debayer raw footage. I'm not quite sure if After Effects can do that. What I would do is first take your footage into Davinci Resolve (since it definitely can debayer blackmagic raw), set resolve to use ACES in the color management, and make sure your ODT is set to none. Your footage should automatically convert into aces without needing to select any IDT for it. It will look wrong in the viewport (too contrasty probably) but that's ok. Just export an exr sequence of the footage. This EXR sequence is now in the ACES color space, so you can bring it into After Effects and set the IDT for the exr sequence to ACEScg. ... I know that's a lot. But it will work! Good luck!
you saved me! Thanks!
Please make a Fusion video about ACES as well.
Thanks for that video - helped me a LOT!!
Hi there. Thanks for the tutorial. I can't find any camera IDTs from my media color space dropdown. Any idea how to fix this? Im on version 24.6.2
What were the chances to find an image with my hometown (the first image - Cisnădie, Sibiu, Romania.) in an after effects tutorial clip hahah
No way!! That's amazing. I was there for 3 weeks, what a beautiful place.
@@InLightVFX i’m glad that you liked it!
After Effects now has the OCIO Look Transform and OCIO CDL Transform as effects under the Color Correction category that use OpenColorIO to process color. You don't need to enable OpenColorIO color management in the project to use these effects. plz. make a video with this topic
Finally i used to put aces as a .cube luts on Photoshop limited to a 5 luts only which i could only play with opacity and rendering took forever with a lot of crashing
Where can i get the OCIO Color Space Transform? i downloaded ocio for after effects 2022, but it doesnt show me that effect neither de especific name ACES-ACEScg
Say I want to use ACES workflow, but I need to key green screen footage as well. How do I do that? I heard keylight doesn't work well in linear compositions. (Also, the footage can be shot in slog or cinetone, which one is better?)
Thank you, i am always messing up my color transforms hahah
Cool video. what is the flowflow with black magic footages?
Did you get the solution?
great thank you for this tutorial, I have a 4444 XQ MOV file, but when I export it as a JPG from After Effects or Nuke and import it as an image plane in Maya with the camera, the color changes when I render it in Arnold. I'm working in ACES in Maya 2022, and I've set the camera color space to sRGB, but the color still changes. I was wondering if I might be exporting it incorrectly as a MOV file. How can I correct this issue? need your guidance on it thank you
Perfect work ! Keep it up
Part of the income of my new VFX job is being earned by you right now, actually
Why Aces 1.2? I'm new to colour management but I hear 1.3 has fixes like correcting out of gamut errors
Thanks Jacob.
What's the advantage of using ACES? I recently did some freelance and ran into trouble using ACES. I asked my colorist friend about it and he basically said to never use ACES unless I it was specified.
Hey Kyle, I would definitely give this guide a read as the author, Chris Brejon, can explain things better than I can. It's gets into a lot of detail so be prepared! But it's good information: chrisbrejon.com/cg-cinematography/chapter-1-5-academy-color-encoding-system-aces/
Honestly, in the VFX world... ACES is your lord an savior. Especially if you have to work with other shops/crews/vendors. With all the camera gammas/gamuts going around, managing a viable workflow between camera footage, cg elements, compositing and grading... you go mad. Enter: ACES - something everyone can agree on. It's like an universal law on how to treat color and everything. Import footage from a RED, from an Alexa and some stuff out of Maya/Blender/Whatver and without giving it much thought... it all lives in the same gamma and gamut. You dont have to think about LUTs and matching. It just works.
And be careful when listening to colorists that were born before 1985ish. The only know their LOGs and are super confused when they have to start grading on something thats close to a Rec709 LUT... i know a lot of colorists that kind of are stuck in their craft/art. They are artists and they have an excellent eye for composition, color and tone. But a lot of the time they are stuck in time at the point where they had their breakthrough. They dont bother with ACES.
why the color picker changes to grey instead of pure white, when we change to aces workflow. thank you and well done for the tutorial
My outputs appear a little dull when viewed in macOS's Finder. I've tried every combination possible, from OCIO 1.2, 1.3, and even custom OCIO profiles. They look fine when I bring the image back into the OCIO-managed AE project, but If I bring it into an Adobe Color Managed AE project, they look dull just like it does in Finder. Does anyone else have this issue??
Where do i find this Color Output Setting when using Media Encoder?
Damn all those transforms are making me crazy
Welcome to color management :) It's a mess haha
Thank you very much
If you choose a non-linear Output-Transform (Like V-Log, LogC, S-Log etc), DON'T export to Half-Float/16bit EXR as OpenEXR was only ever meant to store LINEAR color values. Colorvalues are stored as floats and those are being "cropped" by 16bit EXRs... but Log footage needs the full float precision to keep the color details.
So by exporting to a Half-Float EXR you are basicly losing a lot of color info, especialliy in the highlights. Its similar to exporting in 8 Bits. Forr iinear data, this doesn't matter as you just lose an inpercievable amount of colorprecision... in log, this tiny bit of precision multiplies exponentially. It's a very math heavy topic and hard to wrap your head around if you haven't dealt with colorspaces for a long time ;)
If you want to export Log footage, go with DPX, ProRes4444 or an Avid equivalent.
Good to know! I had alway assumed linear needed more precision. Indeed, it is a math-heavy topic and I'm happy you said something!
@@InLightVFX thing is, linear values can be above 1.0, so a brigntess of 12 is no problem for EXRs whereas log values are compressed to the space between 0 and 1 and therefore there's a big difference if the value is 0.985 or 0.985734
@@freeze102 Ok, so since the log values are using a much smaller range of all possible encoding values (0 to 1) there needs to be more precision. Am I understanding that correctly?
@@InLightVFX Yes!
"If you want to export Log footage, go with DPX, ProRes4444 or an Avid equivalent"
All major camera brands, Sony, Canon, Panasonic etc encodes as standard LOG video footage in 10 bit 4:2:2 h265 files (or h264), some in 4:2:0. So no need for ProRes 4444. If the original is RAW video 12 or 14 bit, maybe. If not what's the point?
YOU ARE A HERO, IT WAS JUST WHAT I NEEDED! T H A N K Y O U S I R
My only confusion is when you set the input for the GH5 to V-Log does that make it linear too and converts it to ACES color space?
Exactly, that converts the color space of the footage from V-Log into the ACEScg color space (which is linear).
@@InLightVFX Thank you for the fast response. I think I was getting confused with the input media. I kept thinking you'd need to select a linear format for the input but of course that's done in the workspace and the AE needs to know what the format was from to convert it correctly to that colour space. Makes sense now.
@@Bubblegummonsters No problem, you got it right!
@@InLightVFX Great, your videos are very clear and concise keep up the great work. Also you don't know anything about the OCIO management system do you. I'm trying to figure out how to add V-log to the list of logs in the presets that are available within Maya as it only seems to list Arri Sony and Red.
1:10 Why haven't you chosen aces 1.3? Thanks!
so did u rendered aces in blender beta? thanks for video!
I set up a custom ACES configuration for Blender. You can see how to do this here: ua-cam.com/video/B7FWNNDXBl0/v-deo.html
Great explanation, very helpful! Thanks!
No problem!
I duplicated output sRGB and rec709 to input for the artists ;)
You are awesome man thanks for your effort
Still the best explanation of ACES in AE to date!! Have an issue tho...
When exporting a clip with the output set to sRGB, and then bringing it back into a new AE-project in sRGB space - the clip appears a bit dark... The white point was around 95% in grading, but comes in at around 80%. Can't wrap my head around this... Help😅
@@christopherstoffi Thank you! What file format are you exporting and then reimporting? You might try right clicking the imported file and go to "interpret footage" and then try fussing around with the color settings?
@@InLightVFXthx for the reply! Project is set as in the video, exporting it as ProRes 4444, Output - sRGB. Importing then into project in adobe color space in sRGB, interpreting it as sRGB. I can bring it back up with a simple levels adj, but just becomes a bit of a hassle with a lot of clips…
Great content man ! like and subscribe. thank you. just last question with which encoding format should we export from blender before compositing ?
OpenEXR is great - and if you're including different render passes OpenEXR Multilayer is the one for you!
Many thanks 🙏
Maybe I missed it, but I think you forgot to mention that you have to linearize the Working space from the project definition. Otherwise, the import will apply the internal Afx transformation color to all the imported footage.
This is at 1:37, no? Or are you describing something different?
@@InLightVFX Yes, that is the one. But the issue is this: you explain very nicely what a linear workflow is and then jump into Afx and say: do this. You never mention that the previous explanation points to selecting that specific configuration in Working Color Space at that point of the video (I will explain this later you said) ;). As you can see, I missed it the first time I saw the video. Anyway, thank you so much for giving some light on all this mess.
When we will se your videos uploaded in HDR???
Finally！Now I can sleep well tonight
One issue I'm having with this workflow is when I work with a plugin like Maxon Universe. I think the plugin, and many others, are not designed to work in OCIO so they don't look right. Is there a workaround for this that anyone knows of? After Effects built in effects work fine.
I was super excited about this but I think I prefer the old workflow where I stacked OCIO adjustment layers I could just copy/paste. Maybe I’m just being stubborn!?
You still can! It's right there at 4:00 and 6:48!
The big problem with ACES in AE is that the "Display Color Space" doesn't preserve RGB in native graphical elements like text, shapes, solids in AE....
Thankfully this method of making adjustment layers does work around that... (In my understanding the adjustment layer with Color Space Transform only applies itself to layers with an interperated input source. Which solids / text / shapes does not have.)
But Adobe needs to fix this "display color space" or ACES in AE won't work intuitively with the majority use-case for AE which is motion graphics(!). It could be called ACES hybrid.
Is it better to do adjustments like color correction after or before the ACES View Transform/Output transform?
You should be doing color correction in a large color space (a color space with a large gamut). The ACES color spaces are all quite large and good for color grading in. Once you apply an output transform, you color space will be squeezed down and made smaller. So you don't want to do color grading after the output transform. You could convert from ACES to another large color space for color grading (for example, you could convert from ACES to Davinci Wide Gamut, which is a common color space that many colorists use). Overall, the output transform should always be the very last thing in the sequence.
Thank you for your answer!
No problem!@@LogosUniverse
So how do you output aces from blender? or does filmic log have an input profile you can use in AE?
You will have to configure Blender for ACES and then you would be able to render in the ACEScg color space out of Blender. Here's a tutorial about the setup process: ua-cam.com/video/B7FWNNDXBl0/v-deo.html
@@InLightVFX Thanks a lot for this video and enlightening reply
So much more convoluted than Nuke
LOVE this video YES!
For some reason I don't have the V-Log output on my render options, even after pressing show all.
Hmm, that's odd. I'm not sure what else to try but I hope you figure it out.
@@InLightVFX i did! It’s input that I should use not output
@@dossantos_films Ahh yes, good!
why not 1.3?
THX!!!