Wed Jan 16, 2019 11:32 am
Yes, ACES always requires an IDT defined by the camera manufacturer, so we are completely reliant on BMD for these from their cameras (same goes for Sony, Red, Panny, etc.), and the IDT has to correspond to the version of the color matrix the clips were recorded with. So, if you shot ProRes to BMD 4.6K Film v3, you need to use the IDT for BMD 4.6K Film v3, and if you recorded in the new v4, then you’ll need the v4 IDT, etc.
As for making LUTs that mimic ACES transforms to use for monitoring, just setup your intended input and output in Resolve and then profile it using the TrimLUT to create the LUT. You can find instructions for how to do that on page 118 of the most recent Resolve manual.
Also worth nothing is that, in my experience, ACES works best when fed raw source footage or lightly compressed 12bit 444 source files. So, I’d stick to BRAW or ProRes4444 if you’re planning to grade in ACES.
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