I think Resolve (and Resolve Lite) v10 uses ACES .2, but it has an LMT to
compensate for the differences with v9 (that used ACES 0.1) so that you can
match the look of v9.


On 6 March 2014 18:16, Frank Rueter <[email protected]> wrote:

>  haha, when i check Resolve Lite 10, it seems to be using 0.1. But I
> didn't look too hard
>
>
>
> On 3/7/14, 12:08 PM, Alex Fry wrote:
>
> Resolve 10.1 is 0.2.0 (which annoyingly looks subtly different to 0.2.2)
>
>
>
> On 7 Mar 2014, at 9:36 am, Deke Kincaid <[email protected]> wrote:
>
>  Just a note about aces in nuke vs resolve.  As of resolve 9 used the
> same version as nuke 7&8 (v.1).  As of resolve 10 they are using aces .22(I
> think), nuke is still using .1.
>
>  To confuse even more, v .7 just came out.
>
>  -deke
>
> On Thursday, March 6, 2014, Frank Rueter <[email protected]> wrote:
>
>>  I had tried that but that doesn't even get close. I'm guessing if
>> Resolve was set up with ACES it might be a promising, but since the
>> colourist doesn't want to go there, I can't even try to do the "right"
>> thing.
>>
>>
>> On 3/7/14, 10:15 AM, Alex Fry wrote:
>>
>> I'd be inclined to try aces-->slog using an OCIOcolorspace node as a
>> starting point.
>>
>> On 7 Mar 2014, at 8:01 am, Frank Rueter <[email protected]> wrote:
>>
>>   Since I cannot get Resolve to match the ACES linear files from
>> RawViewer to the original mxf files (and the colourist refuses to set up
>> Resolve with ACES), my workflow now seems to become the following (not that
>> I am a fan, but it might have to do):
>>
>> -export a bunch of frames from the film (including a test chart) from
>> Resolve as log dpx
>> -export the same frames as ACES linear from RawViewer
>> -in Nuke, create a sequence for each (AppendClip or Switch node with
>> expression)
>> -use those two clips as inputs to the MatcGrade
>> -set a key frames on each frame, analyze and export a 3d lut.
>>
>> The resulting lut is applied to the output in Nuke just before rendering
>> log dpx files for final grading in Resolve.
>> This way I'm getting very close to making the VFX plates match the
>> original mxf raw files. It's not perfect, but probably good enough in my
>> case.
>>
>> Needless to say that I'd prefer a less empirical way, but this seems to
>> be the only workable solution so far.
>>
>>
>> Cheers and thanks again for all your help Alex!
>> frank
>>
>>
>> On 3/7/14, 6:22 AM, Alex Fry wrote:
>>
>> They would just be updating/improving their IDT.
>>
>> I've tried the current one, and it work's fundamentally as expected.
>>  But like any sort of calibration exercise, you can always get closer to
>> the target with more time.
>>
>>
>> On Fri, Mar 7, 2014 at 4:05 AM, Randy Little <[email protected]>wrote:
>>
>> I just saw that at NAB Sony is releasing an update to there ACES
>> implementation as well as s-log3 for the f65.   So Maybe they had something
>> that wasn't quit right with their ACES implementation?
>>
>>  Randy S. Little
>> http://www.rslittle.com/
>> http://www.imdb.com/name/nm2325729/
>>
>>
>>
>>
>> On Thu, Mar 6, 2014 at 11:51 AM, Alex Fry <[email protected]> wrote:
>>
>> The ACES values are scene linear.
>>
>>  The difference with scene linear files you would have previously been
>> working with, is that whilst they would have been scene linear in their
>> intensity, but their primaries are effectively display referred (either
>> Rec709 primaries or P3). Because their gamut and whitepoint already match
>> your display device a simple 1D transform
>>
>>
>
> --
>  --
>  Deke Kincaid
> Creative Specialist
> The Foundry
> Skype: dekekincaid
> Tel: (310) 399 4555 - Mobile: (310) 883 4313
> Web: www.thefoundry.co.uk
>  Email: [email protected]
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