Ah. If that was a nine minute aces video then I’d probably would have stated the following.
If you are the last person to “touch the color science of a shot”, then auto convert away.
The perspective of that video is one from a compositors perspective, not from a colorists perspective. So if you need to bring everything together, then auto convert could be your friend for that.
Hi. I grade a lot of jobs in Flame and use all the colour spaces extensively. Personally I don’t use the auto convert option, so much so that I had actually forgotten it existed. I simply tag everything correctly on import then take the clips to the colourspace I want using colour management nodes. That way you can easily check before and after and make sure things are converting as they should.
I did got through a period where I auto converted everything to ACES CG on import, but that was quite a problematic workflow. In the end it’s better just to bring things in in the colourspace they already exist in, then deal with it in Flame.
a few things to note. half the nodes don’t work properly. including keying and tracking. so beware. ive had to outsource all the tracking and doing the keying in fusion. most of the nodes the controls just aren’t set up for this sort of workflow. simple things like transparency. its very difficult.
Yeah that’s why I would bring it in in it’s existing colourspace. So for example if it was a log source and I was working in ACES CG, I would bring it in log, key it in log, convert to rec709 to track it and convert to ACES to comp (I actually usually comp in REC709, only in ACES if it needs to be ACES). So a simple setup like this:
ACES is great for stuff that needs to be ACES, but there’s still a bunch of stuff that has to be done in other colourspaces. However once you are used to bouncing between colourspaces you are flying.
Yes, you can’t just convert to ACES and think that’s it, you need to be prepared to shift colourspace for different nodes.
Fun, fun, fun!
