If your working color space is ACES or DWG, you need to read this

The following is from a presentation in Poland last month entitled “Protect your Creative Intent with ACES”, but it pertains equally well to those who are into DaVinci Wide Gamut as their working color space: if anything other than the log of the hero camera is going to be your working color space, it’s essential that you’re taking that into account on set, as it could very well change how you end up lighting your scenes.

Photo: Academy ACES

“The example that you see here is two test images processed through RED’s IPP2 color science, which is a nice pleasing look to start with; but if this is what you’re viewing on set and your colorist is going to start an ACES – and I’m going to flip back and forth a few times – then this is the first image that you’ll see in your grading suite. It’s relatively easy to see and to immediately acknowledge that you’re gonna light differently on set for the one and the other. Neither of them are wrong, neither of them are necessarily the best option, but it’s the starting point that your colorist will have in their grading suite, so you want to make sure that on set you’re monitoring that same starting point so at the very least, even if you do not build a look, make sure that you receive from your colorist something that replicates their pipeline so that you’re viewing that on set as a starting point.” – Miga Bär, Workflow Consultant

Photo: Academy ACES

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