User Manual

By using the ACES color space and specifying an IDT and an ODT, you can ingest media from
any capture device, grade it using a calibrated display, output it to any destination, and
preserve the color fidelity of the graded image.
Setting Up ACES in the Project Settings Window
There are four parameters available in the Color Science drop-down of the Color Management
panel of the Project Settings that let you set up DaVinci Resolve to use the ACES workflow:
 Color science is: Using this drop-down menu, you can choose either DaVinci ACES,
or DaVinci ACEScc color science, which enables ACES processing throughout
DaVinci Resolve.
–
ACEScc: Choose DaVinci ACEScc color science to apply a standard Cineon-style
log encoding to the ACES data before it is processed by DaVinci Resolve. This well
defined common encoding makes it possible for ASC CDL values to be used across
systems using the same ACEScc encoding. After processing, a reverse encoding is
applied in order to output ACES linear data.
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ACEScct: A variation of ACEScc that adds a roll-off at the toe of the image that’s
different from the encoding of ACEScc, in order to make color correction lift
operations “feel” more like they do with film scans and LogC encoded images, which
makes it easier to raise the darkest values of the image and get milky shadows,
something that can be difficult with ACEScc. After processing, a reverse encoding is
applied in order to output ACES linear data..
 ACES Version: When you’ve chosen one of the ACES color science options, this
drop-down becomes available to let you choose which version of ACES you want to
use. As of DaVinci Resolve 15, you can choose from ACES 1.0.3 or ACES 1.1 (the latest
version).
 ACES Input Device Transform: This drop-down menu lets you choose which IDT
(Input Device Transform) to use for the dominant media format in use. DaVinci Resolve
currently supports the following IDTs:
–
ACEScc/ACEScct/ACEScg: Standardized transforms for each of these ACES
standards.
–
ADX (10 or 16): 10-bit or 16-bit integer film-density encoding transforms meant for
use if you’re working with film scans that were initially encoded in an ACES workflow.
This transform is designed to maintain the variation in look between different film
stocks.
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ALEXA: Color management settings for all ARRI ALEXA cameras.
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BMD Film/4K/4.6K: Color management settings for Blackmagic Design cameras.
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Canon 1D/5D/7D/C200/C300/C300MkII/C500/C700: Color management settings
for Canon cameras.
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DCDM: This IDT transforms X’Y’Z’-encoded media with a gamma of 2.6.
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DCDM (P3D65 Limited): This IDT transforms X’Y’Z’-encoded media with a gamma of
2.6, specifically hard clipped to a P3 gamut with a D65 white point.
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DRAGONcolor/2 and REDgamma3/4/REDlogFilm combinations: Different
combinations of the DRAGONcolor, REDgamma, and REDlogFilm settings are
provided for legacy RED workflows.
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P3-D60: Transforms RGB-encoded image data with a D60 white point, intended for
monitoring with a P3-compatible display using a D60 white point.
Chapter – 7 Data Levels, Color Management, and ACES 231