I’m starting a web series project where the piple goes with ACEScct, the IDT is in Rec2020 2084(1000 nits). The problem is the image is turning with so high contrast, when the DOP saw the image he said we cannot work or start like this, I try to “revert” this contrast, moving wheels and contrast option, but I cannot achieve, DOP said he want to start from LOG.
Exist a way to use ACES Pipeline but in DI revert the high contrast of the ODT?
A friend told me in Baselight you can change the RRT or DRT and start with a “neutral” image, but unfortunately im working in Resolve 16.
Please anyone correct me if I’m wrong but…
You should be able to transform the “automatic” IDT to ODT back to get the reverse result.
Use a Color Space Transform node on your clip, group, or timeline whatever fits your worfklow.
Set your output as the input and the desired log settings at the output.
Look at this example I made in a rec.709 situation for Arri footage.
However I don’t know if working from Log is an effective workflow when dealing with HDR as delivery format as working into that curve from log might be a bit weird without “80% of the work done by transform”. Expanding bright detail might be tricky with just grading. But that’s just my guess
It is a common problem colourists are facing.
DPs sometimes are missing education.
Some tips for an educational dialogue with your DP:
Take the analogy of still photography:
In Still Photography, it is common to shoot raw.
However, in no Photo editing app, you start from a washed-out image. You see an already rendered image, but you know that you can recover details in highlights and saturated colours. With scene-referred grading workflows, it is the same.
Explain that you have all information available for grading
Add a FilmGrade/LogGrade contrast and significantly lower contrast. It demonstrates that you can create a low contrast look and that you work with all information/details the sensor captured.
Ask him about what he saw on set
To an extend, ACES tries to render a neutral view of the data.
With this you have a view to what was happening on set, you can see if the scene was lit contrasty or not etc…
If you start from a washed-out image, you have lost all connection to the energy present on set.
Show the benefits of Multi-Cam Workflows
Explain that you can balance different cameras more efficiently and that the Camera Vendor encoding does not affect what you can pull out of an image.
It is a long process of education, but it is worth the effort
