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ACES is an absolute Gamechanger


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I have no idea why I avoided this so long for a little inconvenience of setting it up and using it. The results are insane. I am not even colorgrading my renders and they look like they just went to a

That is not entirely true. The original idea for ACES came from a digital Hollywood production frustration:   You had for example 3 different camera manufacturer systems on set and like 4 di

I agree with this post 100% 🤘

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3 hours ago, CDALive said:

well ACES is a great Color system. ACES is just the system. the colorspace is ACEScg, ACEScc, RAC709 and so on. 

The only two renders that support ACEScg are Arnold and Octane. Redshift work on a full OCIO ACES integration.

 

There is a work around in Cinema 4D and Redshift to output ACES (sRGB) ACES (reg709) yet but you need a convert node between the color and the material input. 

ACEScg.jpg

 

Since I use the new C4D node system in Redshift, I could not use this node but I just rebuilt it in the new system 😉 So the renders above did indeed have the correct colors on the textures and constant colors. If anyone can tell me where I can find that preset in my files I can upload it to the system.

 

And what you are describing here is exactly what I did. As much as I could gather from all the information on the internet: if you use OCIO in Redshift this way you get basically the same level of ACES support that Octane and Arnold have. You can even export an ACES *.exr 16bit file via beauty AOV (as described in the video in the first post).

 

 

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Here is a blog about everything you need to know about ACES. 

 

Chapter 1.5: Academy Color Encoding System (ACES) - Chris Brejon

 

And nice useful app to convert your HDRIs and textures.

PYCO Image Colorspace Converter [Free] (gumroad.com)

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19 hours ago, CDALive said:

 actualy it is simple, ACES is just the  System. a kind of an universal converter. So you can bring every color space from every camera into that system and the color grading is the same dosn't matter what input you bring in.  ACES the System is only in Postproduction. Renderings is ACEScg or ACEScc. So it is a great system for 3D and VFX stuff.

 

In the Filmproduction you film with different Cameras and the output is HD, SHD or UHD so the Color space of that cameras is very big . So ACES is not a must go in the Movie production.

 

for CG it is a game changer for sure.

That is not entirely true. The original idea for ACES came from a digital Hollywood production frustration:

 

You had for example 3 different camera manufacturer systems on set and like 4 different VFX facilities and two editing facilities in your 100 million dollar movie production. So in the first step you received the plates from the 3 cameras which all looked different because every one has a custom color system. So first you needed a color grader to unifiy them.

 

Now you give them out to VFX for effects. Every VFX studio had a custom color workflow in the 90s so when you got the film with vfx back it looked different again. So the next round of 3 days of color grading started to unify the look. Now give it to editing. The same started. Now the director wants 80 takes to be changed. And it starts all over again. It was eating a lot of time and money and frustration.

So they said: we need a technical system that covers all existing color systems and merges them into one: ACES

 

So ACES is not really only CG orientated. It wants to merge all the multiple color systems and avoid all the annoying conversions between them to create the best possible standard for the digital image space. It took them 10 years and is still  not finished. See here. ACES is so "big" and advanced it covers all the others "inside" its range to not destroy the image:

 

https://learn.foundry.com/mari/4.2/Content/Resources/images/user_guide/color_management_4_453x477.png

 

It is way more powerful than those spaces we use everyday like sRGB and Rec709 in digital image creation. Problem is: our TVs and Screen are still in SRG/Rec709/Rec2020 so when working in ACES we need to "shrink" our footage back into the space of the output device.

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3 hours ago, Igor said:

Here is a blog about everything you need to know about ACES. 

 

Chapter 1.5: Academy Color Encoding System (ACES) - Chris Brejon

 

And nice useful app to convert your HDRIs and textures.

PYCO Image Colorspace Converter [Free] (gumroad.com)

 

Awesome Igor! That conversion tool is great

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On 4/11/2021 at 10:00 AM, zeden said:

So ACES is not really only CG orientated. It wants to merge all the multiple color systems and avoid all the annoying conversions between them to create the best possible standard for the digital image space. It took them 10 years and is still  not finished. See here. ACES is so "big" and advanced it covers all the others "inside" its range to not destroy the image:

 

https://learn.foundry.com/mari/4.2/Content/Resources/images/user_guide/color_management_4_453x477.png

 

It is way more powerful than those spaces we use everyday like sRGB and Rec709 in digital image creation. Problem is: our TVs and Screen are still in SRG/Rec709/Rec2020 so when working in ACES we need to "shrink" our footage back into the space of the output device.

 

Although the above chromaticity diagram commonly gets thrown around to represent ACES, we are instructed to not use that color space for rendering, but to instead use ACEScg color space (see the red triangle in the image below) which represents a much smaller color gamut that is closest to Rec. 2020. We still lose out on a good chunk of the greens, cyans, and blues, as with Rec. 2020. For now, there aren't any devices that can display these colors anyways, but 5-20+ years down the road - who knows?

 

015_ACES_0040_aces_colorspaces_FHD.thumb.jpg.2a27a8f886af5d78f6d54925a883c2d0.jpg

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