User Manual

NOTE: ACES grades require CLF LUTs that have been specifically created for ACES
workflows. If you want to apply a regular LUT within a grade, you must do a color
space transform to convert the image from ACES to whatever space the LUT was
designed to work within, and then another color space transform to convert the image
back to ACES; however, this workflow does not alway provide ideal results.
The Initial State of Clips When Working in ACES
Don’t worry if the initial state of each image file appears differently than what was monitored
originally on set. What’s important is that if the camera original media was well exposed, the
IDTused in ACES mode will retain the maximum amount of image data, and provide the
maximum available latitude for grading, regardless of how the image initially appears on
the Timeline.
Tips for Rendering Out of an ACES Project
When choosing an output format in the Deliver page, keep the following in mind:
 If you’ve delivering graded media for broadcast, set the ACES Output Device
Transformto be Rec. 709, then you can output to whatever media format is convenient
for your workflow.
 When you’re delivering graded media files to another ACES-capable facility using the
DCDM or ADX ODCs, you should choose the OpenEXR RGB Half (uncompressed)
format in the Render Settings, and set the ACES Output Device Transform to
“No Output Device Transform.”
 When you’re rendering media for long-term archival, you should choose the OpenEXR
RGB Half (uncompressed) format in the Render Settings, and set the ACES Output
Device Transform to “No Output Device Transform.”
Chapter – 7 Data Levels, Color Management, and ACES 235