Resolve ColorChecker + ACEScc

I used to do white balance correction by checker using ACES, but now I can't remember that pipeline...
Could someone remind me the pipeline, please? For instance, input: raw bmcc, output: srgb/rec.709. Thanks.

The white balance using colour checkers is on the Colour Page in the lower left quadrant beside the camera raw tab.


Sent from my iPhone using Tapatalk

I mean, what settings do i need to set to make it work?
(Project Settings>Color Management>ACES Input/Output Device Transform.
And the ColorCkecker: Source/Target Gamma and the Target Color Space)

ACES has not been fully implemented ion Resolve 15 as it was in Resolve 14, so I’m no longer using it until ACES IDT are defined. I was using ACEScct.

Hopefully someone will help you as I don’t understand why you’re setting a colour space for a colour checker. Colour space is for a Timeline. With Colour checker you select which checker you’re using, line up the sample colour swatches and apply. I’m feeling stupid not getting where your problem lies. But it may be because ACES isn’t yet done for Resolve 15.


Sent from my iPhone using Tapatalk

Posting as Yuri Gagarin is a somewhat suspicious handle, but I suppose more than one person can have that name.

Possibly the confusion really sits in the category of not knowing what a "colorspace" is or what it is for. As far as I know, ACES is fully deployed in Resolve15 -- it actually works a little bit better than previous releases, certainly better than 12.5.

Input Transforms are independent of timeline...colorspace is independent of project.

That is actually how ACES is supposed to work: Academy Encoding is a universal, virtually infinite value environment that places an image in a common framework. How the Input and Output Transforms compute the image are defined by the user as appropriate to the "Scene-referred / "Display-referred" treatment of the picture. Manufacturers furnish a Transform for their encoding strategy that presents the gathered image to ACES the way the cinematographer configured the camera... a colorist re-presents the transformed image to a viewer via a transform that provides an appropriate window for the presentation colorspace -- be that 709, P3, 2020... &c. Transforms are not LUTs.

If I was asked to use a chart to ballpark the incoming scene for "look" or "exposure" evaluation, I would choose an ACES workflow, import the clip, tag it with the appropriate IDT, and proceed as normal. An interesting exercise would be to choose different ODTs (tied to the appropriate display) to evaluate the effectiveness of the Transform for presentation universality. It is unlikely that would ever happen in my case because I work with locked online cuts and NEVER see colorchecker charts.

jPo, CSI

The question was not as simple as it seemed. I'm studying the ACES workflow for the LDR delivery.
Gentlemen, thank you for the information. I have to go deep then.

jPo, for the life of me I couldn’t find an appropriate ACES IDT on a couple of recent projects prior to 15.2, but I gave it another try on a new project tonight and everything was there in 15.2. I can’t explain but it must have been some combination of things I was trying (probably incorrectly). Anyway I’m back using ACEScct. Thanks.


Sent from my iPhone using Tapatalk

I gave it another try on a new project tonight and everything was there in 15.2.

It seems like not everything actually is there.
It lacks at least of BMCC, BMPC and, i guess, BMPCC IDTs for the RAW CinemaDNG so far.
If my goal is to grade BMCC/BMPC RAW footage, is it fair to say, that the only way is to
convert the RAW to some Log ProRes clips and apply IDTs then?

Posting as Yuri Gagarin is a somewhat suspicious handle, but I suppose more than one person can have that name.

Well, no problem since you can read here around that Peter Jackson is asking for help as well

Well, no problem since you can read here around that Peter Jackson is asking for help as well

I bet that Peter Jackson has "people" to do this and needs no help.

Yep, no doubt he's not the P.J. we all know; I was just kidding reminding JP everything's normal if we can read this name here

It lacks at least of BMCC, BMPC and, i guess, BMPCC IDTs for the RAW CinemaDNG

For those you would use the Blackmagic Design Film IDT.

It lacks at least of BMCC, BMPC and, i guess, BMPCC IDTs for the RAW CinemaDNG

For those you would use the Blackmagic Design Film IDT.

I doubt BMCC and BMPC share the same color science.