ACESclip use cases

Discussions - ACESNext VWG – ACES Metadata File (AMF)
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As mentioned in my post from 1 month ago, below are two proposals for an alternative ACESclip syntax. I just renamed .xml in .html because otherwise ACEScentral denies the upload of XML files.
I am therefore re-uploading the files from that post. As you can see they propose to implement a few things that were discussed today.

TB-2014-009_sample.ACESclip.html (2.7 KB)
The “simpler” ACESclip:

  • links to Sony camera-native MXF file using the MediaID as ClipID;
  • it references to an external “non-standard” CLF as IDT,
  • stacks it first with a “balancing” CDL (explicitly declaring ACEScct as working space for it),
  • then stacks it with a pre-grading LMT described as an external CLF.
  • It then describes one output pipeline made up of:
  • a CLF-referenced LMT,
  • a standard (Academy-supplied) RRT referenced by official TransformID,
  • a standard ODT referenced by its official TransfromID.

changing-metadata-sample.ACESclip.html (6.2 KB)
The more “complex” ACESclip also implements optional features (color pedigree) like:

  • authoring metadata like name, creation date, ACES version, etc.;
  • one IDT with applied flag (which means the IDT is already baked into the footage and is not fo re-application);
  • 3 different color-pipelines (one for previz, one for theatrical, one for HDR mastering), each with its own stack of LMT and Output Transform component, referenced from components from the <TransformLibrary> section of the XML;
  • an optional <History> section, with historical/forensic data for that clip, chronologically sorted by revisions.

Handling of multiple color-pipelines in one ACESclip may be handled when it is imported/loaded/assoaciated in a vendor product – either automatically integrated from the show pipeline, or manually with the artist picking the color-pipeline name from the GUI displaying all those read from the ACESclip, according to how they need footage to be viewed.

Two alternative proposals were set forth in the VWG, particularly for mastering/archival purposes:

  • Using supplemental IMF packages to link different essences (different frame rates, format, trims, etc.) as well as different ACESclip files (or pointing to different color-pipeline sections from an ACESclip with all color-piepliens).
  • Employing IMF OPL to link to different ACESclips (or parts of one ACESclip) – athough this works only for differentiating Output Transforms but for the same essences.

As a final note, this is the SMPTE working group on Extensible Time Label (TLX) mentioned by Jim during last call.