Full ACES CG Pipeline Workflow (Nuke,Houdini,Resolve) TAKE2

so this is revision two of our asus cg workflow we did an original video which is posted below setup is unlisted uh with really great comments from people that gave some feedback and said that your pipeline isn't exactly correct so we're gonna give you some advice so thank you for everybody that contributed so i'm going to hopefully go through this whole process again with a more accurate setup for you that want to work in resolve work in asus and also have your renders come from asus from uh you know you know new working in new kinesis working in uh houdini uh asus and coming back to editorial and putting your cg elements that have been composited together back on the timeline so i'm in the project settings here and i have this set to color science aces cc acct is with a toe uh most people use acc and then asus is still trying to refine its you know universal uh you know color management system so you might get updates over time uh it's still an evolving process but most people will use in this case for now asus 1.03 and that's the one that you're going to want to download if you have to get updates on the academy's website asus input device transform this means that it's gonna if you want you can have this available so if there's footage that comes inside of your uh bin here and the actual resolve doesn't recognize it because it has no metadata you can tell it yeah it's a canon 600 with a canon log 3 footage looking all gray and so forth and convert that you know so you remember the footage that comes in here if it is raw if it has uh any sort of metadata resolve will figure it out for you which i'm going to show you where that's at inside the color management setup all right but if it doesn't if it's an exr sequence if it's a uh quicktime file it's not going to know what that is okay because there's no metadata so you have to tell it by adding an asus input transform the benefit of asus um at least for us low dynamic range guys is that we can bring in red footage alexa footage black magic footage uh sony footage and just by adding one of their uh asus input luts telling it this is the footage it's canons you know log or whatever it will match all the footage to look correctly that's the biggest benefit for us since most of us are working in low dynamic range or rec 709 uh you know finish we're not really concerned about going to movie theaters worrying about having a huge color space uh because remember and i have a link at the bottom of video that hugo uh posted from i forgot what link it is but it's definitely worth checking out when you're dealing with high dynamic range you know what's the benefit of high dynamic range and it's not just the color gamut but it's the it's the brightness of the color of the it's the color being there as you bring up the brightness and you know and there's a great explanation with this video at the bottom so definitely check it out um that kind of helps you understand what is the benefit of all this hdr stuff but if you are finishing on hdr and all that and so forth um i'm probably going to be doing a video separately for adobe vision and hdr10 for now but right now we're just dealing with this um so the video at the bottom is about dolby vision so if you're interested in kind of learning about that okay so again asus input device if you're most likely going to be bringing in a lot of quicktime files that are from you know say canon or whatever just set this to whatever most likely will be it will automatically conform it otherwise you'll have to overwrite it which i'll talk about in a minute asus output device transform again whatever you have if you're looking through this through an srgb monitor put it to srgb if you're looking this through a p3 you know benq monitor that you're going to be going to theaters with uh yeah look at it through a p3 monitor whatever you're looking at through the monitor like for instance a hdr monitor rec 2020 with a thousand nits okay definitely choose one of these whatever you're looking at through is what you need to be looking at that's the device transform all right so when footage comes in if you go to camera raw you can see what the footage will be what will the footage be done to it when it comes in if it's and you can choose any one of these if it's arie alexa it's gonna obviously look at the camera metadata and then it's going to conform it to asus cg so you don't have to worry if you got that beautiful area alexa footage all right it'll figure it out or you can override it by coming in here and changing customize settings so any footage coming in that's very alexa raw it'll conform to whatever settings you have here if you want to have it a tweak i have blackmagic raw footage most of the time and it's going to use the camera metadata but if i wish to go to my projects i can change up whatever i want i can come in here and reset the white balance i can kind of like call the shots so to speak but i usually just leave this to the metadata okay and you can see all the other options here you can change this based on whatever you want you know again these are files that are going to be recognized via their metadata okay you're not going to see quicktime files in here okay and that's for a reason so i'm going to show you i'm going to bring in a plethora of images from previous projects i worked on i got one here from uh the movie uh i believe it's the film thrill ride which i worked on if you guys are bored in the pandemic and you want to just go on xfinity you could you can go into their movie section and one of their movies that they have is thrill ride so i saw it on there well i've been bumming around in this fun little pandemic and i've been oh look and i just decided to watch it for the first time on a 4k monitor anyway so we have these four different types here again this is an exr sequence it'll be like our asus cg renders will be doing and again resolve will not recognize it so we'll have to tell it what the input device transform is redco raw has information already in it this again was the stuff shot with throwride this is a quicktime file another quicktime file so i'm going to take my formats folder drag it into my bin here and let's go to the bottom and there she is okay so i got my current timeline set up looking at it through srgb output device transform and you so you'll see if i go ahead and just double click some of these you'll see look how nasty this footage looks it's like what the heck is this it looks like crap well this was shot with a sony camera so i'm going to right click it okay and we go to asus input transform again because there's no metadata i have to tell it what this is okay so this is this is off screen you can't see it but this was just sony uh i believe it was just just srgb footage or rec 709 so boom and that's exactly what i saw all right so if this was shot rec 709 um you can go ahead or srgb you can see now it's conformed properly into aces and it's going to start looking like all my other footage that's by default set up here in regards to the color space this is a scene double click this one this is red code raw and it already figured it out for me what did it do well again if i go over here to color management and i decide to let's actually pull this onto the timeline here there we go and i take this clip go to my color you'll see this it just knew that it was red color three for color space gamma was red color gamma three it already knew what was coming from the metadata so it knew to conform it to asus cg again i could come in here and make all types of versions of this and so forth so that's raw red red footage and then exr same thing i'm gonna pull in exr and here is a exr file and since this is an exr sequence we are just going to make sure that it's just simply set to no uh no input transforms you can see if i at the very top is one no input transform so right now this was an hdr set up for hdr workflow and you can see if i come over here and bring in the color section you know i could come over here and do some gain on it and this is basically what we took uh for some kind of transformers project that we did you can see all that dynamic range there that's for hdri but anyway it is there and it was actually conformed inside of photoshop to be a little bit darker so don't let it think that's like a color space problem you can see as i kind of bring this up and down it is what it is so here i am in the delivery tab i'm going to put the endpoint with heading i output o and this is the sequence that's going to involve the cg drone so i am over here making a custom export which is going to be an exr sequence set to rgb have his compression uh resolution will be 496 by 1712 that's my timeline resolution and a very common weird format that comes from the blackmagic pocket 4k you will might have a 4096 by 2160 whatever the heck it is um frame rate whatever frame rate you chose and data level you want to set this to full and that's pretty much it so you can hit this and hit the add to render queue and then under render queue you can hit start render and that will render out your image sequence now before you do that because we're looking at this through an srgb or whatever you're looking at it through it'll imprint the srgb color space in the footage just as you would with any editorial nuke doesn't necessarily do that but in this case we're in a still in the early stages of resolve but you can go under your project settings and for temporarily while you do all your cg export image sequences you're going to want to go under color management and under asus output transform you want to set this to no output transform so you're going to watch my footage go from being normal to this kind of muddy this is kind of like the default linear whatever you want to call primaries or whatever of uh the raw asus cg or i'm sorry aces and when we're working in asus in resolve we're working under a specific asus color space so when you're inside of actual resolve you're actually doing acc or in this case asus 2165-1 this is the full color spectrum of the human eye okay so you're dealing with a very large sandbox now if you actually captured your footage like if it's a quicktime file or something the color range of the colors you captured on set like if say if it was like a sony quicktime h.264 file would maybe only be like this space like srgb or rec 709 so you know you get your high hopes up like oh cool i can use these greens over here that no one ever uses and so forth or you know the common uh things you think about it's like oh i got more color or whatever it has a lot to do with and again i have a link at the bottom to explain all this uh better it's through dolby vision they explain it better than i do how it's about you know high dynamic range the brightness maintaining color as the image gets brighter as opposed to getting kind of white or gray so again it's it's this you know extra color gamut that we're shooting for and again the dc ip3 is what you see in theaters so it's not big this is like your home television or your hdtv srgb is very similar to this very same almost the same size we can see these extra colors and as they talk about i think remember it was uh through i believe it was finding nemo nemo was actually sitting at this color right here and they had to do a color transform and convert the colors that were in this size down to this size for home theater distribution so finding nemo was about here i believe and then he got he had to be conformed to the like this color so i think someone said he was originally more saturated or something than he had his color changed from the theatrical version to the home home video version or whatever but again if you have hdr televisions much bigger color gamut here rec 2020 now there's a y value of a three dimensionality that's going up it has to do with brightness and the maintaining of these saturated colors as the image gets brighter so that's a whole other element to these color gamuts but you can see that this is what you're working on inside of resolve this is what you're going to render out of uh inside of uh houdini and most 3d apps it's basically they've they they you know because of you know saving space i'm assuming they're not going to render out the full asus 2165 besides most monitors don't display all those colors yet but they do want to get a good chunk that will make sure you get the maximum fidelity or whatever color fidelity if you were to watch it on rec 2020 so it's a lot more creative opportunities in regards to colors and so forth and you know really pressing those colors in high dynamic range uh you know situations but this amount of color space will be enough to cover if we're going to be conforming back just to hd tv release say netflix or something but even netflix is now we're going into hdrr so or if you say you're just going to theaters okay the whole idea of asus is deep you know having a big you know sandbox so that later on when they invent a new television that covers all the colors you have all the colors recorded or you know because the alexa covers a large amount the black magic if it's you know if you just render i believe if you're just uh doing a render with pro res you're only getting like a rec 709 monocus but if you do the 12-bit log you're getting a little bit more uh but then you know the actual fancy hollywood cameras like you know you can look it up online the red camera and the alexa they cover a whole bunch of colors so again it's future proofing um it it just gives you a quicker faster way and it deals a lot easier than doing a lot of smudging and color correcting in regards to highlights to conform to different types of medias remember we can form our final artistic finished product into many different color transforms iphones ipads you know hdtvs you know we want to make sure they look good on all of them so having this sort of primer universal set of aces is really what's going to help us so enough of that blah blah blah again now that i have this set with my actual color space turned off i can now hit render and render out this footage so i'm going to do that right now okay so now we're inside of nuke now we have to set up a color space inside of nuke for asus so i'm going to hit s for settings over here in the node graph and under the color tab by default you're using nukes uh color space but we're using ociou and again being in continuity with resolve we're sticking with asus 1.0.3 now on the academy's website you can download the config files for all of the latest ocios if you need to and again you can put a location down if you have a custom config file again these are config files that's what you want so you can hit custom and plug one in if you download it on site which i have a link at the bottom for you guys to download but the beauty of nuke is it already has the asus setups configurations already available you can actually glean from these or borrow these if you are using houdini you don't necessarily have to you just got to find the config file just one file config file and that's all you need to work everything out so realize that in the midst of your nuke folders when you install nuke there is a whole asus uh setup in this case it's only as high as 1.03 uh there is a 1.1 version out so if i need to i'll just download it and just put in a custom if i wish to okay so the default lut settings of this are asus cg working space so resolve is actually working under this space 2165 which is the full color of the spectrum of the eye but we don't need to work in all the information and all that extra hard drive space when we render so we're only going to be rendering an asus uh cg which i showed you guys the color gamut of that it's a little bit smaller it's got a little less of the left side of the greens but it's all you need because it's all we currently have available as far as display which is the hdr displays so why render colors you're never going to see right um so anyway that's what we have here for asus cg so there will be a conversion process when we go back and resolve our monitor is srgb you'll notice looks a little bit different up here it's got this little parenthetical asus so any monitor you have set up currently if you have a p3 monitor set it to that if you have a rec 2020 monitor set it to that if you just have a regular computer monitor srgb if you're looking at it through rec 709 hd tv set it to that you know this is your this is your options okay so make sure your viewer lut is set to this correctly what's interesting is your 8-bit files okay will come in as utility srgb textures most likely so again because 8-bit files some 16-bit files and even exr files don't have metadata it's not going to know what to do with it it needs to transform it into the asus cg space so what's really cool is if you bring anything in here that's the old classic srgb images something you bring in from photoshop like an image or jpeg or a png the tool you will use to convert that to asus cg space is utility srgb texture you'll be using a lot of these utility nodes when you're dealing with stuff of the old school into the new school um 16 bit files will conform aces to acc you can change this if you wish log files floats it will assume it's asus and it'll conform to asus cg okay so that's like the full spectrum there so anyway let's look at the footage so here is the footage we rendered we exported um out of our resolve and because we're looking at srgb space it looks normal but if again if we were to put this to something like oh i don't know like log or raw asus or whatever you would see the raw ace's color um and let's put this back to srgb so we're looking at it through a viewer lut of srgb so it looks fine because i'm looking at through again an srgb monitor sorry for being redundant but our color space for the read node is asus2165 that's what we have now i went ahead and lowered the resolution for quick playback inside of houdini by bringing the resolution down to 0.3 this is an exr file i want to get real-time feedback real-time playback for animation's sake so i want to have the scale size down a little bit so that brings the resolution down to something ridiculously goofy like 1229 by 514 or something and you probably don't go that far you might have to just divide it by two and you'll be fine for real time and then when we write it out i of course use my classic file direct value name tool uh and then i have it as asus convertedplates.hashtag hashtag.exr again there's another symbol for this but i don't usually because i'm lazy so the color space is default asus you know cg so we are going to be rendering this okay into asus cg space okay it's currently in asus cg as nuke is set up for asus cg but we're going to render it with asus cg because when you're dealing with asus in 3d apps such as maya such as houdini such as 3d studio mac such as what is now a blender who that's not using asus you will want to make sure your files are coming in as asus cg okay not regular asus just asus cg i did the camera solve and i'm going to write geo right out the actual camera we're going to bring that inside of houdini which i already did and that's it we're going to write that sequence out so it's kind of going from full aces 216 2065 to asus cg to be good to go to go inside of you know it'd be nice inside of resolve if there was an option there might be an option i'm not i never checked to render it out straight to asus cg but again whatever we want to get our nuke setup for asus cg and we want to get houdini set up for asus cg that's the way the industry works now this is a drone okay there's a drone in this and it has texture files now those texture files cannot just simply be brought into houdini they had to be converted now you can do that through scripting and through different filters inside houdini if you wish or you could do it inside of nuke which i prefer to do anything that is a visible color that will be seen in the viewer or in the image itself is something that has to be converted if it is an information pass such as roughness metallic normal map you do not have to convert these you can bring in these physical png files and have them direct or actually be fed into the normalized zero to one values that dictate roughness metallic normal map information okay so don't worry about those worry about anything that's going to be seen on scene color passes such as the emissive pass and the base color pass now the utility to write out a png file which as you can see here looks the read node for this is coming in if i want to see anything with color inside of nuke i have to use again that default utility it's under utilities uh i can't see it but it's basically extend this out a little bit here default utility srgb to texture okay so there is the image it might show up a little it might show up a little darker just be aware that there's been a lot of somebody was explaining how uh there's a lot of dealings with the color shifting or the i think maybe the brightness shifting or something that clients have their specific color schemes when it comes to advertising and all that and kind of maintaining that's a little bit tricky um so anyway when you come to the right node we're going to render it out as asus cg simple as that and it's being rendered out as just drone diffuse exr okay i have to make sure that the right asus compliant exr is clicked on when i do exrs okay and that's going to conform it to asus cg so it'll be working fine inside of houdini same thing goes for this right here this is my glow-in-the-dark pass or the emissa pass it's like self-illuminating and there's little red lights on that drone itself and same thing i'm writing it out now some people were saying when an emissive pass you might want to brighten this thing up a little bit or something i'm not sure what to say about that but these are the only two passes we have to worry about now we are going to be lighting our scene inside of houdini with an exr sequence or i'm sorry express me with a hdr image so i have an hdr image here it's coming in the utility that you use for the conversion of this all right will be uh in this case we're we should be taking this to not utility raw but because this is coming in we should be using utility er where you add utility linear srgb if you just util if you do utility wrong this was a wonderful correction by somebody that wrote in it'll be to be quite uh slightly saturated okay so you your your instincts are to come in here and go in here and just use utility okay utility raw but you see how saturated that background changed so you need to set this to utility srgb uh linear srgb so there you go now it's converted so that we can see it in srgb space and all that stuff now we're going to render this out here's the right node here same thing it's being rendered out uh you can see the color space is utility linear srgb we're changing that to asus cg okay so we're going to be converting this to asus cg it's going out asus cg as an exr sequence as you can see here and uh make sure write aces compliant exr because we're bringing again we're bringing everything in to this color space so i'm going to hit render render one frame or whatever there we go so now we have everything we convert like i mentioned before these files do not have to be converted the information passes do not have to be converted okay roughness is dictating roughness in a again a uh zero to one form and uh you know zero being darkest black meaning i'm sorry white being the brightest zero means darkest roughness increasing by value from zero to one normalized value same thing with metallic normal map is the obviously the rgb value for that so we don't have to we don't have to kill ourselves by converting everything that was one of the corrections so with that said let's go ahead and jump inside of houdini all right so we are inside of houdini and this is the official render that i have inside of houdini now in order for you to have anything rendered in asus cg inside a houdini you have to do a little bit of scripting work here it isn't that complicated and i'm going to show you where it's all at so i have a link at the bottom for greg barta goes over the basic color space workflow how to set up asus in different formats um you have to download whatever version you're working under asus from asus's website uh so you can see here it says there's a whole different instruction here on how to do this but somewhere on your computer is your houdini.emv file and here it is on my computer so it's under see user mat document so you need 17.5 again i'm using windows you can double click this or open this up in a code editor and you're going to have to add a line and just save this out so i just added a location of where my configo configo.ocio file is okay on this same link you can see that it tells you there's a github here and you can download the config file again you're just looking for a config file so i just saved the all the folders and all that and i'm just redirecting this to my config file which is right here so i'll open this up and this is what you will save it'll basically be a folder with all the different versions and eventually you get to the config.ocao for that's the file that you're looking to redirect and again just save this houdini.emv file and you should be good to go again like i reminded you there is also a location that you can direct this towards that's actually under your nuke folders uh so just look up asus and nuke and you'll find you'll find the asus 103 config file in nuke if you have the latest version of nuke so you can redirect that to your nuke folder instead if you prefer not to install or just download this uh ico pack so just be aware that once you get open once you reopen houdini you should start to see things are going to be a little bit differently um inside of your uh scene view here this is the scene with my nephew here and you can see we're at frame what is that an 80 80. so you can see this is just an animation of the actual drone itself and again if i just go back to 90 here and then was it 90 or 80 i think it was 80. so if you go to 80 you know i could come back to i have another camera view basically in this scene all i have is two cameras one's the camera i tracked inside and it imported fbx style inside of the scene um so in my scene view you can see if you have these little tabs here that you can you know open up and close you'll see you have asus and srgb so again whatever you have installed so you can't see it off screen but p3 monitor whatever whatever you're viewing you want to have that set up in here if i go to my render view i currently am rendering through the can another camera just from a different angle but if i set this to my mantra node which has it set up to the camera itself and i'll just re-render this now you'll see that i'm going to zoom out here this has the hdr i have an area light i believe an environment light in my scene so i'll show you the shader setup and so forth for the scene so i have an hdr i don't dome light so to speak and i have an area light so there's our there's our drone and it just kind of whizzes and this whizzes behind the scene so if i kind of go to my original thing here and i'll just uh back up here you can see this basically just comes into the shot and again um let's first start out with the scene view here i'll look to my camera and lock to it okay so here's this scene view and because i'm dealing with this exr sequence in here so how do you plug that in well plug in this guy right here i have a whole houdini um live action set so if you guys are curious how i set this up so biggie it's just bringing in fbx and coming to your camera a little eyeball here and again if you can't get access to eyeballs this little guy right here you have to click and d click but anyway it's the eyeball you got to come over here to the actual camera let's see background sorry and it's good that you actually when you have the camera you have to select the camera by hitting the little lock button so you're locking to it if you don't have that it won't show up here so if you go under camera i just plugged in that converted version which is in asus cg space and it's asus you know exr sequence so i just go ahead and click on that i just click on the exr sequence there's another image sequence you have to plug in for the render view so if you go to the render view and again you have these little pull out windows here if you go to your little eyeball here you have to do the same thing here as well you got to plug in under file format this exr sequence okay remember it's got to be asus cg converted so you can see everything looks nice the color looks nice and then down here a little pull down window sync thingy here same thing asus what are you looking at this through are you looking through a p3 monitor you have to make sure that that's set up correctly okay so again you won't see this unless you've done that install that i showed you before so let's talk about the materials here you can see here's my transparency and so forth uh if we go over here to i have just a simple out node mantra node with a couple of settings here if you're curious i'm not rendering uh asus i'm not rendering out anything that is uh deep compositing but if i were um i would probably come over here under deep output set this to blah blah blah dot hashtag exr and then that would actually render out uh the deep information if i need be um but again i'm i'm not going to be doing that but you can see i'm just basically rendering this to uh just an image sequence here exr sequence physically based rendering frames 112. now the materials that are assigned to this drone let me go ahead and just show you that so i'll go to my materials section here and here's my principal shader under surfaces i've made a couple adjustments here and by default metallicness is way up so because i've got something feeding into metallic and reflectivity into the texture node here i got not reflectivity but metallicness okay is being plugged in that's this becomes like an opacity on off shader to that uh current plugged in thing that metallic down and up so if we go over here to the textures you can see the base color had to be that converted exr file that was converted exr anything that's in the viewer that will physically be rendered with that will be seen um i believe it's a specular pass too because you can tint that i could be wrong on that but specular emissive and base color and all that that stuff that needs to be converted to aces cg space everything else which is an information path such as this roughness pass is just the original png file again it's an srgb setup so we're not worried about converting these to asus cg okay and then the metallic png automatic it's figuring out for itself that it's srgb again just the regular png we don't have to convert it and i've done back and forth comparisons it doesn't really change much emissive this had to be converted because it was color information okay so emissive now some people always say this needs to be brightened up in photoshop and i mean inside of nuke you can brighten it up it just seems kind of dimmer i don't know i i don't know i'm not still trying to figure that out comments at the bottom please if i'm making mistakes bumps and normal map again just the opengl png and if you zoom up on this you'll you'll you will see that the the the normal map is working fine um i haven't done any displacement mapping on here just yet but i'm assuming it's just an information pass like any other so it just goes like how you usually would do that map so again that's pretty much it and then if i go back to my scene view unlock from my camera you can see the hdr in the shot and again that hdr if i go back to my object level go to my environment light had to be that converted into aces cg space hdri uh you can't just you can't just bring in an hdr image into this you need to convert it i believe um and that's it and i believe that's everything drone camera area light yeah so that's it so you're officially going to be rendering in this awesome incredible asus cg space so then again i could come in here and start making adjustments to my lighting i could take my environment light and start to you know pump that up or something if i need need be or something but i'm not going to it's a very dark scene it was like i could brighten it up a little bit later on so anyway that's what it is very boring scene this thing just comes in the shot again because my image sequence is if i go ahead and stop this and i go my scene view because i down res my image sequence if i go back here to this and lock now you might be looking at like wow look how bright that is uh what are you like over compensating your lighting because your color space is off uh no for some reason i'm doing everything according to it as planned is a very reflective a very very reflective map it's got a high reflectivity a low roughness it's not a color space issue a lot of people you usually know when your color space is off when you're trying to overcrank things to see things because your roughness pass is uh basically too dark or your metallic pass is way too bright you know and that gives you sort of like like oh i got to keep cranking the light up um but you see as i download this to 0.3 resolution this is an uh exr sequence but if you let it cache you can get a very fast feedback as long as you have this real time button plugged in right here but again you will only see this if you right click this and you click on color correction you will not see it otherwise so again you can get some nice feedback with a lower downres exr sequence again you don't bring in jpegs you don't bring in anything like that so i'm going to go ahead and render this so i'm going to do my output thing here and just go to my render render to disk and i'm going to render this out so back inside of nuke i have the cg render this is actually the older render but anyway it's coming in obviously and it's defaulting to the color space uh aces cg which is correct because it was rendered in asus cg again why is it coming in like this uh if i hit s for settings we know that anything that is coming in is a float value which would be exr it's going to automatically say i'm assuming that this is aces cg which most of the time it will be so i pre-multiply it so i got nice little alpha and i'll just go ahead and merge this b for background a for a top and of course this is a lame comp but it's there yay look at that okay and then we can write it out with this setup like an exr sequence um and we're gonna again it's still asus cg we're writing out an exr uh with asus compliant exr all right and then we just hit the render button and we render out the entire image sequence it's important to note uh especially when you're nuke you'll notice when you start grading things in asus even in resolve that it has more of a physically accurate exposure than say the way you would see gain or the way the different things behave in it it's more physically like that's one of the nice things about it so it's just a nice appeasing stuff so we take this rendered exr sequence which has been rendered in asus cg and we're going to bring it into resolve so here we are for the full circle back into uh davinci resolve now we had our viewer turned off so we need to turn that back on again so i'm going to go into my project settings again whatever monitor you're looking at this through in my case srgb i only did that for the export so my output device transform will be srgb and hit save so now we're back so now i'm going to go to my setup here so i'm going to go to i'm going to grab that image sequence so here am i inside my bin and there's the footage i'll just bring it in and let's go to my edit here and we'll drag it in so let's go down here there she is drag it in now you'll notice that it's slightly warmer you see that see how this clip is this is the original in asus 2165 and this is asus cg so we have to do a it doesn't know what this is it's assuming it's uh just regular aces so we got to right click it uh we go over here right click it and you're gonna go uh asus input transform it's the very one at the very bottom you can't see it off screen asus cg so now that it knows it's ac cg it does the transform have all those juicy colors in there uh not that the original footage had that many colors and not that the the colors on this uh specific srgb originally based image had the colors but you know everything is there it is aces technically so now we have the render which is so that's pretty much the whole process again check out the links and check out the two video links i have at the bottom i have one based on dolby vision just give you a better understanding of this and the other is just a video on the lego movie i keep kind of bringing this up to better understand this whole workflow and its benefits so i hope this helps and i'll see you guys later

Channel: VFXforFilmmakers.com

Views: 27,792

Rating: 4.9834256 out of 5

Keywords: ACES, aces, academy color encodiing system, academy, color, encoding, system, houdini, cg, acescg, vfx, textures, srgb, pipeline, dummies, resolve, davinci, nuke, maya, config, workflow, mantra, exr, example, learning, training, tutorial

Id: vGLfWL-qTPs

Length: 41min 35sec (2495 seconds)

Published: Fri May 01 2020