ACES and ACEScc Intro and Tutorial for Vegas Pro


Jas4 wrote on 9/1/2015, 10:59 AM
Thanks for the additional information. When I've rendered test files, if I am going to play them back on my computer, ACES Srgb gives me exactly what I see when I'm editing. I haven't done any tests to my plasma yet as that will involve a different render. I'm just grateful I can finally see the edits as I actually made them with some increased latitude along the way. I will try your suggestions.

On another note, if you have a Pay Pal account, I would at least like to offer to buy you some coffee! Cheers
balazer wrote on 9/1/2015, 2:38 PM
My new thinking is that you can ignore the differences between a computer monitor and an HDTV monitor. They are all just gamma 2.2~2.4 devices. Rec.709 will be a good match for any of them. Use the same color space for rendering as your view transform, so your output matches what you see while editing. The sRGB ODT has some color accuracy problems (reds come out orange), so I don't use it anymore.

I don't drink coffee, but thanks anyway. You can show your appreciation by sharing your productions and spreading the word.
larry-peter wrote on 9/1/2015, 5:58 PM
Jacob, this is great work you're doing. I'm working with Canon C300 log footage right now and would love to use this workflow with future Canon log footage. I've achieved fairly good results using a Sony log IDT, but can't quite get the same look that I can color correcting in After Effects using AbelCine's Canon log LUT.

Does an IDT exist for Canon C300? Would 2D or 3D Canon LUTs be of help in creating an IDT?

balazer wrote on 9/1/2015, 8:28 PM
Thanks, atom12. Canon has specifications for ACES IDTs for the C100 and C300, but no LUTs. I can try building LUTs from the specifications. I would need some test footage to validate my implementation. Please e-mail me.
larry-peter wrote on 9/1/2015, 9:16 PM
Done. You're a gem.
balazer wrote on 9/11/2015, 5:55 PM
I have released new configurations with added color spaces:

Canon Log (C100/C300)
Panasonic V-Log

I've made some Panasonic GH4 V-Log L test videos and an exposure guide.
wslagter1 wrote on 4/13/2016, 2:30 PM
Hi Jacob,

Great ACES/ACEScc tutorials. Appreciate your knowledge!
Were you able to create color spaces for Sony A6300 or can I send you some test footage?
Thanks very much
balazer wrote on 4/13/2016, 3:15 PM

On Sony Alpha cameras like the a6300 and a7-series, I recommend a gamma setting of Cine1 and a color setting of either Still or Pro. That will match the Sony Cine1 color space of my config.

I don't recommend S-Log2 or S-Log3 on these consumer Sony cameras because they are harder to shoot with and have more banding, and they don't have any more dynamic range than Cine1. Read why.
wslagter1 wrote on 4/13/2016, 5:46 PM
Thanks very much .
I will try out your recommended settings for my a6300
wslagter1 wrote on 4/13/2016, 6:06 PM
I also use your ACEScc file in Vegas 12 Pro

When using your recommended a6300 setings:
Do you have any recommendation for color space settings in the Media tab
and color space settings in the Project tab while rendering?

I appreciate your help.
Wouter Slagter

balazer wrote on 4/13/2016, 6:18 PM
In the media tab, you need to set the color space that corresponds to the camera's settings.

For the project view transform and the rendering color space, I usually use Rec.709. (standard Rec.709 - not the ACES RRT Rec.709)
wslagter1 wrote on 4/15/2016, 11:53 AM
I assume that the a6300 color space is similar to the A7r2 and A7s 2 ?

balazer wrote on 4/15/2016, 12:37 PM
On Sony cameras, the color space is determined by the picture profile's gamma and color settings. If you choose the same gamma and color settings, you'll get the same color space, even on different camera models.
Thomas-Hill wrote on 6/1/2019, 7:53 PM

Are these configurations still useful in Pro 16?