I decided to proceed with the entire workflow using ACES and have chosen SDR as the final viewing format.
To enable monitoring on set, I planned to load an ACES pipeline-applied LUT onto a SmallHD monitor.
Currently, I am testing the generation of a 33x33x33 LUT in DaVinci by applying ACES OFX with a node-based setup.
However, I noticed an image difference between implementing ACES with a project-level setting and with a node-based setting for video clips in the MXF format that include SONY RAW metadata.
I suspect that when ACES is set at the project level, the automatic conversion of RAW metadata from SLOG3 to ACES differs from the values used in a node-based SLOG3-to-ACES conversion.
Is this a bug? Or could it be an issue with my node-based or project-level settings? How can I verify this?
The camera I tested with is the FX6, using the XAVC INTRA codec, with the file extension MXF.
To be absolutely sure it is the same setup I believe you have to convert from sony log to ACEScct with RGC enabled as the first node because gamut compression is applied on input to timeline rather than timeline to display. Then go from ACEScct to Rec.709.
But if that brought the same appearance it could be that the Sony “RAW” params are treated differently or ‘ignored’ when using project based management over manual. I’ve seen discussions around that topic on BMD forums. It’s a bit difficult to understand what exactly is going on because BMD rarely has a representative clearly communicating such details leaving users making wild guesses.
As suggested by @shebbe maybe it’s the order of operation with RGC. start by turning it off and see if you get a match. I know that in nuke it needs to be applied in ACEScg (EI ACEScct suggested by @shebbe). You may also need to apply more towards the input than the output. But, as mentioned by a colleague just now RGC may be properly managed automagically in Resolve also.
Start with it off then work from there and see where it matches.
Thank you for your response. I appreciate the new feedback regarding the location of the RGC.
However, it seems that the biggest difference in the image is not due to the RGC but rather the different parameters used in processing the RAW data, as you mentioned. I will need to look into whether another solution is necessary.
Hello, I use project based ACES, and often have to create on set and camera LUTs using the node based workflow. As long as you use the ACES OFX and not the davinci CST it works perfectly EXCEPT for FX6!!! The reason is that when resolve brings FX6 mxf into the color page, it further processes it so that you can us the camera raw settings, but in truth as you say its AVC intra not raw. No other software, or the ACES project settings do this and it results in a small discreppancy. On one job I was able to create a correction LUT by shifting the color temperature about 100K. I dont remember the exact number, sorry. The resolve interpretation is very nice for colorists, but a problem for the onset monitoring and for VFX if you need a full color managed workflow. My suggestion is that the FX6 footage is submastered to ACES CCT so that it behaves identically in all pipelines/workflows. You can have RGC on or off, it wont make a difference as long as you keep the setting consistent. And it does not happen to other cameras afaik. Good luck