I want to shoot Kodak Vision3 as 35mm still photography and correctly colour grade the scanned results in DaVinci Resolve using ACES 2.0.
My basic workflow would be:
Kodak Vision3 → ECN-2 development → high-quality film scan → Resolve → ACES 2.0.
The lab I’m planning to use can provide high-resolution 16-bit scans as well as the uninverted/raw data from their Noritsu scanner.
What I’m trying to understand is simply:
What is the correct way to take that scanned negative data and turn it into something that can be properly used as an ACES 2.0 input?
Would I need to characterise the film + development + scanner combination myself, or is there already an established ACES workflow for this?
Eventually I would also like to experiment with other photographic films such as Kodak Gold, Velvia and Ektachrome, but for now I’d just like to understand the correct path for Kodak Vision3.
I’m happy to photograph colour charts and exposure tests if that is required.
Any guidance on the simplest technically correct approach would be greatly appreciated.
There is one way to do this: use ADX densities within DPX files and you could use the IDT for it. This is all within ACES. Seems easy? Not really because just a handful of scanners are calibrated for ADX. I doubt any Noritsu would be because they are meant for photography. Building a profile and an IDT would be a very difficult and long task as you would need to build your own calibration film first. Save yourself some trouble and find a facility where they have an Arriscan calibrated for ADX. Not all Arriscans are, they have to be purposely characterized with the proper test films that Arri have.
I hadn’t realised ADX provided an established film-density route into ACES. I’m going to look into finding a scanner or lab that can handle my 35mm still negatives and provide proper ADX density scans.
This gives me a much clearer direction to investigate. Thanks again!