Show off your best photos or video in the unique slideshow to be used as a promo, portfolio, demo reel, commercial, teaser, trailer, opening/closing credits, or inspirational social media post. Blooming from a liquid spill, this striking visual is spectacular and breathtaking while stirring the deepest of emotions. These abstract transitions mimic the fluidity of an oil spill retreating from a drop of water. I'd be interested to hear from anyone on these forums who has any experience of this sort of workflow and can shed any light on the subject.Videohive Cinematic // Ink Slideshow | For DaVinci Resolve 36192230 | Free Download DaVinci Resolve Template Projectīeautifully artistic, dramatic, and creative! This cinematic slideshow will inspire the imagination with its surreal inkblot reveal. I'm no colour scientist, but this doesn't sound good for my grade. I'm not sure what this means, but it implies that VFX artists may be working in a reduced colourspace before the final ACES ODT back to what I originally sent them. ACEScg primaries are much smaller making it an ideal working space for compositing and working with cg images." "ACES2605-1 is very large gamut encoding which makes it very hard to work with. Nuke uses the OpenColorIO (OCIO) system, which is compatible with ACES, so you can set up the OCIO configuration to emulate ACES.Īll good so far, but did you know that there are some different ACES standards that Nuke compositors may use as their default settings? Have you heard of ACES 1.01, ACES 2065-1, ACEScc or ACEScg? I'm in the process of trying to find out more about some of these various flavours of the ACES standard, however one quote (on Nukepedia) got me a little worried. Now, given that VFX work may involve accessing original log camera plates, 3D animation, stills and various effect loops (fire, smoke, particles effects etc) It's important that they see the graded shot correctly so that they can match the other elements to it. My understanding is that if I gave a Nuke compositor a graded shot, and he/she was using ACES within Nuke, I would get back a comped shot that would slot back in without any problem. My reasons for using it in preference to other colour management systems would be in situations where I'm sending out shots for (say) VFX work.
The ACES workflow in Resolve is pretty straightforward - as it should be.
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