Hopefully there is a way around this conundrum.
Ive got a 3 lut stack which is: (this is the order in the FX)
Interchange - aces 20651 - aces CC
Import - shot lut
Import - show lut
Now this all works and matches the ref but it is sitting in aces CC. The luts only work with ‘Tagged Colour Space’ as aces CC/CCT.
What I need is it to be Rec709 so that layer could just be exported as a QT to client. In batch i would just add a ‘View Transform’ which takes care of the colour and the tagging but Im trying to do an All in One timeline FX.
But if you use ACES in TL-FX in the export of your timeline you have to toggle the LUT button on and then set it to ‘View Transform’ with display to Rec709 which will be default. That’s all in the export settings.
Alternatively add a track on top of timeline, add color mgmt tl-fx, set to ‘View Transform’ and ‘from source’.
Yep both those workarounds do the job , Im just seeing whether its possible to do it all in 1 TL Colour Management FX , it might be a stretch too far.
I could easilly do it in a BFX layer but they are slower to render than a single CM stack.
Seems like this is what you’re looking for. That gives me equivalent results.
There’s no ACES to Rec709 transform that’s available in Custom. But you can transform from ACES to CIE, and then there’s a tonemapped display transform to video.
Hmm. Could be because of ACEScc vs. ACES. The labeling of these transforms is not as transparent as one would wish. I think there’s an effort to improve this.
Try adding this interchange before those two. I don’t have a test case to check it righ tnow:
sadly not.
In trying to do it all in one stack , ive got shot lut and a show lut that both need to be applied to AcesCC , then it needs the view transform to end up rec709.
But I think all this cant be done in 1 Custom Colour Transform because it only has 1 tagged colour space.
Its fine I know of various ways of doing what we wana do its just i was trying to do it all in 1 stack
That seems actually quite reasonable - since you’re setting a show LUT.
Though what’s the penalty of just having a single simple colormgmt track above the full length? I get that it’s a bit ugly, but it shouldn’t be any performance penalty.
We often do that if different clips have different color spaces, as the render function is a bit lazy and only looks at the first frame, not every frame.
Alternatively, you can apply a transformation when you export your timeline.
If everything on your timeline is tagged as ACEScc because of your soft-tlfx, you can use that identity to trigger a transformation as part of the QuickTime encoding.
