Perfil de color Aces

No tengo mucha idea, pero mirando sobre teme igual este post te sirva: https://community.acescentral.com/t/valid-c4d-redshift-after-effects-aces-workflow/3451/3

Recién leído en la lista de correo de AE:

Based on your needs, I think you should explore using a workflow with ACES (The Academy Color Encoding System) - https://acescentral.com/

The main idea behind ACES is to provide an open standard from production to finishing, including VFX, to allow to share footage between departments/studios with keeping the original cinematographer intent. Using ACES allow you to be independent from the camera format as well as from your display output. One main piece of this puzzle, is that ACES defined a really wide color space that encompasses the human color vision space (visible spectrum) as defined in the CIE 1931 color space. This allows to define all captures (camera sensors) and displays (covering different technologies) of color spaces that exist today.

In order to implement an ACES workflow in After Effects, you need to disable Adobe color management and use OpenColorIO - this is also an open source initiative that works not only with AE but with many other 3D and composition software - https://opencolorio.org/

The main components of an ACES workflow are:
. The Input Device Transforms (IDT) - this allow you to mathematically convert your RAW, Log, etc… camera footage into ACES - most camera manufacturers have an IDT for their camera format. For example Resolve provides the most commons IDTs in the Color Management input.
. The Look Modify Transform (LMT) - or “show LUT” in combination with a Common LUT Format (CLF) from production, this is where you create your work and the look of your footage
. The Output Device Transforms (ODT) - this is your output format (i.e Rec. 709, sRGB, BT.2020,…)

This workflow will allow you to share your work with the assurance that everybody in your team/production share the same visual keeping color fidelity. Also it gives you a greater flexibility for your output: you can render to the different color spaces without having to redo your work.

ACEScentral is a great place to get information about ACES.

Good luck,

David Baud
Colorist & Finishing Editor
david at kosmos-productions.com

On Apr 15, 2021, at 11:59 AM, Roei Tzoref <AE-List@media-motion.tv> wrote:

question about after effects compositing roundtrip LOG-LIN-LOG. I want to bring my footage in the right color space, do my composite on a linear footage, then output a log file (for colorists for example). when dealing with ARRi footage, I could use Ae's color management to set a profile to each footage in interpret footage as ARRI, then I could do my composite and render back in LOG.
now I have an blackmagic ursa mini camera footage. it was shot in LOG. it doesn't have an ICCa profile in After effects. it doesn't even have a LUT (took on of davnici's BM to REC709). so I can use a LUT. as long as I am the final station that's ok, but what if I want to give back a LOG file? there is no "reversed LUT"... so how do I complete the round trip without having an ICC profile for that footage?

I thought of a few workaround for this:
1. convert a LUT to ICC - I found a product that does this (haven't tried it yet). is that a common workflow? did anyone try that?
2. composite in the closest ICC profile (actually couldn't find one, most of them clip my footage), then use color profile converter on adjustment layer to bring back to LOG and then place my LUT?

I would like to keep my workflow as reversible as possible, would appreciate any thoughts about this ,

in the time being, here's a great article by Chris Zwar about using color management for Alexa that I love (since then, there is an ICC profle for Alexa so it's much easier) and used successfully in a recent project and would like to keep that workflow:

thanks