Hello, This is my first time here posting and wanted to confirm our current pipeline as being the right one or at least has minimal errors.
We have a BlackMagic URSA Mini Pro G2, sometimes we shoot on RAW and I don’t set IDT since it’s raw but when it’s on ProRes for some reason, I set it to BlackMagic Film 4.6K IDT; would appreciate if someone can confirm that this is right.
The second step is I take that EXR that is now in ACES Space and use it in Nuke alongside the CG Renders which have been rendered in Blender using ACES ( Textures are Utility - sRGB - Texture, Normals, or anything grayscale is using Utility - Raw and HDRIs are using Utility - Linear - sRGB ). In Nuke I set the colorspace for CG to ACES-Cg and the EXR of the footage to ACES-ACES2065-1 and I do my compositing which is followed by matching the black points, white points, exposure, and color; since I haven’t received my color-checker yet. After I feel like the scene is matching, I then export the whole scene back to ACES-Cg and take that into DaVinci Resolve and set the IDT to ACES-Cg and the ODT to my screen setup, Rec709, and do grading there and export it to Rec709 or sRGB if Ended up using sRGB.
This is a workflow I landed on after many attempts. One thing I feel like would change is the arrival of my color-checker. I have one question about that and that is; Do I have to match all my HDRIs, Texture references, Light HDRs, and TechPlates to my footage AND THEN transcode it to ACES in DaVinci or do I have to transcode it, import it in Nuke with the CG AND THEN do the color checker matchups. DaVinci also has this feature and would things be easier if I use DaVinci to do the color matching.
Also, I saw someone use a color-checker and match it with a linear version of the color checker to make everything linear.
As you can see I sound lost in the space of color management by a bit so even if you have little to add to my knowledge I would appreciate the feedback. Thank you for your time.