Grade School: All About ACES

View the original video series here:    • Davinci Resolve: ACES Explained, Part 1  

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2:45: The genesis and evolution of the ACES RRT
11:40 — Understanding tone mapping options in ACES vs Resolve Color Management
20:38 — Dealing with scenarios where the ACES RRT feels too high-contrast
23:32 — Using the “S-Curve for Contrast” option in the Resolve preferences when grading in log color spaces
30:30 — Understanding the “CSC” prefix added to several of the color space choices in ACES Transforms in Resolve 17.2
33:02 — How to create camera LUTs using an ACES pipeline
35:15 — Understanding the “Use Mac display color profiles for viewers” option, why it causes problems with node-based color management, and its limitations as a strategy for improving display accuracy
42:00 — Understanding the color management journey of a Rec 709 source clip in an ACES workflow, and how to ensure optimal quality
46:20 — Understanding LMTs and how they differ from traditional LUTs
49:30 — Applying Film LUTs and film emulation within ACES
53:30 — The key concepts and benefits behind split-toning
57:00 — Cons of setting up color management in project settings vs. in nodes
1:01:10 — Previewing the improved gamut mapping in ACES 1.3

*Here’s a link to the DCTL I’m using in this section: https://github.com/jedypod/gamut-comp...
And a link to the Gamut Compression Implementation Working Group: https://paper.dropbox.com/doc/Gamut-C...

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