Master in Aces?

I have a short film (16 bit .braw 6144x3456 footage) already graded in ACES, going to 4KDCI full container

I would like to have a MASTER (I believe is called VDM) so I (or whoever has this master) can deliver later to whatever its need to be rendered (DCP/SD/HDR), and get rid of the raw files.

Will a QuickTime DNxHR 444 12-bit can keep the ACES space and bit depth?
So if later a HDR P3-D65 1000nits is required, Will I not have any problem from that master?
Would it be better if I render a 16Bit .Tiff secuence in P3-D65 1000nits color space? (can I use this for SDR?). If I dont put an Output Transform, will it work for deliveries in other color space?

Hi Enrique,

An ACES master is intended to be stored as ACES 2065-1 (AP0/Linear), or in Resolves confusing terms: Output Color Space on "No Transform", Uncompressed EXR format. This stores the file in 32bit floating point. It is not possible to store linear data in an integer format like 12bit DNx.

If file size is an issue, perhaps a compressed EXR format may be more suitable. Not sure which compression method would be good to use though, not really my field.

you "can" apply a ACEScc(t) final color to (Camera log) space transform and use the aforementioned Prores...

but the client MUST know that it was finished in ACES and be able to go back to it if needed.

(It is not recommended even if it is possible to do it.)

12bit log master in same colorspace as your project CM setup (ACEScc or cct) will do, it is perceptually practically equal to 16bit linear data. As said by others, don't try to fit linear ACES 2065-1 into video, it won't work. You must use log based colorspace when using integer based storage format.

Communicating the colorspace of data inside file is essential with any file format. It is never a given with exr either, I have gotten all kinds of random crap in exr-s.

if it helps - you can render that to EXRs with ZIP/PIZ compression - those are lossless compression methods. Yet still, if those are 6k plates, they are going to take considerable amount of space. Yet storing them in ACES 2065-1/AP0 means you have access to all the data.

Communicating the colorspace of data inside file is essential with any file format. It is never a given with exr either, I have gotten all kinds of random crap in exr-s.

+100.....

my life last week dealing with VFX vendors delivering to spec 2065, but without an idea what that is, so rendering log files with seemingly random curves and gamut and wrapping inside a massive container
<sigh>

if it helps - you can render that to EXRs with ZIP/PIZ compression - those are lossless compression methods. Yet still, if those are 6k plates, they are going to take considerable amount of space. Yet storing them in ACES 2065-1/AP0 means you have access to all the data.

That's definitely the way to go. I think if the output resolution of the film is HD or 4K it should still be fine as you won't archive individual plates at native res.
If compressed EXR would still be too large the alternative would be ACEScct in DNx 12bit but my guess is that they'll be similar in size. The EXR ACES 2065-1 route is more clear because the ACES archive format is expected to be this within the ACES workflow standard.