It is my first day in the community and wishing to learn as much as possible. My first question is where can one access more Aces Input Transforms for DaVinci Resolve. Recently I participated in a SMPIA color management course and the color scientist showed a very long list of ACES input transforms when he touched on the ACES topic. My version of Resolve 18.5 only has a handful of input transforms.
Welcome Jack,
Which ones do you think are missing? Which software and ACES version was being shown in the course? The OCIO config of ACES may have more color spaces than Resolve’s implementation. It for example comes with a Linear variant for the camera spaces, which could be required if decoding from raw files into camera native primaries/linear or receiving EXR’s of which only the transfer function was linearized. In Resolve it is somewhat expected that global color management is used which automates the IDT part for raw media, or with manual color management it is set up from the project settings → Camera Raw where per camera raw file type you can decide how to decode.
Does that help?
Hey, Shebbe, thanks for the response back. In answer to your questions, we were looking at ACES 1.3, I believe. I was kind of shocked at how many possible Input Transforms were available in the presenters library compared to mine, which only has a few within Davinici Resolve 18.5. I am setting up a project for a new TV series and hoping to use ACES if possible. I really want to make this my workspace moving forward if I can, but I’m a little nervous about how I will be incorporating graphics, etc, from the producer that were produced in a Rec 709 or sRGB world. I’lll be stuck with these and need to transform them into an ACES colour world. All the RAW cameras came in beautifully, there is really nothing for me to do but grade, so this is a bonus. I had a Rec 709 aerial camera and it took some reading on the forums to figure out that an inverse display transform worked with this footage. As I haven’t seen the graphics and maps from the producer yet, I’m assuming the same solution will be needed for say sRGB graphics, as reverse input display transform? Just trying to wrap my head around all this so I don’t shy away from using ACEs. I’ve recently taken the Dolby Vision certification course so I’m very anxious to work with footage at the very highest quality with the potential to future proof assets. I can’t tell you how many times producers have come back and said, oh we now need a 4K UHD deliverable instead of HD or the distributor we are using needs Dolby Vision. It’s hard to work with assets that have all been dumbed down into a Rec 709 grading environment at this point. I see ACES as the way to always be working in a really big colour world without limitation.
Still not exactly sure what you mean. Compared to the presenter’s Resolve 18.5? Or was it different software? Regardless you should have all the color spaces you could need except maybe some which do not officially support ACES yet like Fuji or ZCam cameras. Since 18.5 the input spaces are categorized which is a welcome change since the list keeps growing. This is what it should look like.
That would be correct yes.
Awesome! This is what my list looks like, so great to have you confirm. I’m sure the list I saw must have been from before they were categorized like this. Thanks for following up with this.