@ccHogan I'm exactly in the same space and I really do appreciate this breakdown. I know using ACES is a bit more involved than how it was laid out in this 1st part but @CullenKelly has given me the clarity to understand what ACES is. (even for this slow to understand old dog lol)

You're very welcome!

Hi Cullen, I wasn't able to get into the "Color Management in DaVinci Resolve 17 workshop" probably due to my own ineptness. Will it be available somewhere that I can get to it?

@@CullenKelly where is part2 I can't seem to locate it

@@CullenKelly Hi Cullen, we have been running this workflow (ACES node tree) in several features and seen some isues: titles with textures and ALPHA channel sometimes don't behave the same in display referred from graphic department and ACES in DV. This has been addressed in V17 at ACES project level but still not at ACES node tree (reported already to Peter Chamberlain at LGG forum) Regarding timeline color space when working in ACES node tree it doesn't have any effect on MOST of the grading tools, but we had problems on OFX "Light Rays" changing from 2084 P3 D65 from Dolby Vision pass to P3 2,6 for DCP pass (to have later the transformation to XYZ when exporting the DCP) So if ONE effect changes I can't be sure some of them might be doing something as well, and rather not to take risks. And for gamut clipping I am still investigating the differences when you export GAM in ACES project and ACES node tree comparing with other applications (like our Daylight or Transkoder) I love using ACES on the node tree, it's flexible and versatile but I think BMD still needs to work on it a little bit for making 100% ACES compliant. Hopefully will be soon! Thanks for sharing your knowledge!

@@CullenKelly hahahaha, thanks, Cullen! I admire your knowledge designing DCTLs and sharing that to everyone! I wish I had those skills! In our facility I have to take care of those things since we have several machines and workflows for different clients. So everything should match (whitin reason) from set to final delivery. I will let you know if BMD improves the ACES node tree workflow. Thanks!!

@@LuisOchoacolorista Hi Luis, I started trying an ACES node tree workflow after watching Cullen's videos (I'm pretty brand spanking new to grading, and only do some supplementary grading on small and personal projects). Since my grading is in those small projects where most post-production is happening on one system and one software (fusion, resolve edit, color) I quickly ran into the odd behaviour with things like graphics and fades. You seem to have way more experience dealing with this. I only need to deliver in rec.709, so my motivation for using a color managed workflow comes from my practical need to deal with a variety of cameras (mostly low budget doc type work) better. The node tree flexibility (rather than project level) makes sense to me, especially to let me deal with different IDTs. Given some of these integration issues, how would you suggest dealing with some of these ACES issues? Or would you suggest a different color management workflow?

@@jonathanpmines Hi, it looks is still an issue with Resolve. Working ACES at project level is fine but depending how you use the ACES nodes you might still find those differences. My sugestion would be going step by step and starting on ACES project, hopefully BMD will address the bug eventually.

Hello! Please tell me: do you rate first for DCI P3 and then for rec 709 separately? Or do you just evaluate for DCI P3 and then do a node for compress to rec 709 and disable nodes depending on whether you need rec 709 or P3?

@@CullenKelly awesome, thank you!

@@CullenKelly OK sir, I have been working in aces and learned a lot while doing it. But the term "scene referred" is somewhat blurry still. Should I correct my footage (WB, exposure, contrast) BEFORE I transform my slog footage into aces, or is the correct way : SLOG to ACES - correction - grading - OUTPUT transform? Thanks!

@@CullenKelly wait to see, Cullen. thank you

@@CullenKelly thank you ! :)

@@CullenKelly can’t wait to watch it. Thanks 🙏

@@CullenKelly Looking forward to watch the next video. Ah ok yes the flickering threw me off.

@@CullenKelly Thanks so much, but it seems like the Rec709 to Rec709 transform does make a difference - when I screenshot your video before and after, the green billboard is a lot less saturated with that transform switched on. I also tested it with some of my footage and when you have very saturated colours, a transform like that does seem to map the colours to a smaller gamut, if they're out of the Rec709 gamut in the first place I guess? But if they were, then yor source footage wasn't really Rec709? Can you try and explain what is actually going on here and why/if we would need to transform to Rec709 if we assume our source footage is already Rec709? C-:

@@CullenKelly Ah - this is starting to make sense - I had no idea there was always the RRT going on inside that node. So silly example: if I had 10 of those ACES transforms after each other (not that that would make any sense), each going Rec 709 in Rec 709 out - that would slowly disintegrate the colour values as there would be a little bit of tonemapping applied each time - meaning this is actually a destructive operation if not used properly? THANKS!! C-:

@@CullenKelly i see, would you know what i would have to choose for ‘input transform’ since there is no ‘blackmagic design 6k film gen 5?’ i shot on bmpcc 6k pro. there’s other gen but not that one

@@CullenKelly thanks 💪🏻

@@CullenKelly But in theory a bigger gamut has "bigger" (more saturated) colors, right? Doesn't the saturation of the newly mapped gamut depend on the rendering intent or mapping algorithm? I'm just asking to understand since I'm so deeply into learning everything color right now that stuff like that confuses me. What I see at 3:09 is a conversion from log and not a shrinkage in gamut, right? My display is capable of displaying 100% Adobe RGB and 96% of Rec2020, and going down to srgb/rec709 desaturates colors quite a bit. Thanks!

@@CullenKelly I'm on it. Luckily there are tools to do exactly that. I think color pipelines are more complex than most people think. It's not like "Rec709 = fine that's all there is to it" but there are so many variables like the EOTF/OETF, gamma, volumes, white point, several devices in between etc etc etc!

@@CullenKelly I watched the first video on DWG workflow yesterday. I'll keep going. I did notice most LUTs look REALLY dark when I use the color management workflow. I'll keep learning and get back to you. Thanks for the videos!

Hard to pin point exactly what is happening without seeing your setup. Double check that the settings within your pipeline are correct. A lift operation is a broad adjustment that will raise the black point while the white point remains anchored. So you may see some adjustments across the entire image. If you're looking for something more specific you could use the custom curves to isolate an operation to a specific tonal range!

​@@CullenKelly my setup: input ACES transform LGGO [...] output ACES transform Adjusting the lift on the LGGO node affects everything up until the mid-range and doesn't just "pull everything up". As it's still in a non-linear workflow the LGGO works differently. Can I still work in a display mode while grading INSIDE ACES? Thx for your help :)

@@CullenKelly - Ah! I have yet to work through all your vids! Yep, that is exactly it. Well, at least my workaround isn’t idiotic, though it is a little clunky! It also means that any final look and feel adjustments are either going to be post aces transform, so in rec709, or will replicated in every group. Thanks, Cullen.

@@CullenKelly iv been watching different videos on youtube and no one said "Listen, if u wanna color grade your videos on Davinci you have to do this .... First step...second...third...etc " how hard its to make a video like this 🙄😩😩