There’s no reason why this couldn’t still work today, but there are some limitations and bottlenecks in this type of workflow. 709, and renders are sent back and forth for matching and integration. Traditionally, graphics and finishing are created in a display-referred space like Rec. Graphics need to be adapted for final color or vice versa, and this can lead to a lot of frustration on both sides when you’re working without a unified color pipeline. Eventually, each of these pieces will be integrated to create the final output. In today’s world, motion graphics, color, VFX, and finishing are often happening at the same time. Why would anyone want to do this? Well, there are a few reasons. Bridging the gap between color and VFXĪll of which brings us to the topic of this article: adopting an ACES pipeline to integrate After Effects and Resolve.
The tools are all there and more accessible than ever. Today, it’s possible to adopt these high-end workflows without the need for a big technical pipeline team. It takes a bit of work to get it working correctly, but once it’s set up, ACES transforms do most of the heavy lifting for you. By learning a little bit about color management, smaller teams can really benefit from the flexibility and power that ACES offers. Sometimes, managing all the transforms of an ACES workflow can be perceived as overcomplicating the job-especially if artists aren’t familiar with the constraints of working in a color management system.īut I’d argue that a little work sooner can avoid a lot of work later. Not every project needs full color management. Like many business practices, it comes down to necessity. But smaller facilities and teams in the commercial world have been slower to adopt a color management system. The complexity and number of artists involved in these processes require a standardized system like ACES. There are a lot of reasons for this, with heavy CG and VFX being the biggest.
Trickling downĪCES has traditionally been confined to the feature world with very “dialed-in” color science.
They’re just not designed to do it as well as software like DaVinci Resolve, Nuke, and Flame. That’s not to say it can’t be done in those programs. And, in my experience, many artists don’t use color-managed video workflows in Premiere Pro or After Effects anyway. In theory, an ACES pipeline delivers a high-quality color management system that gives you the best possible color accuracy and image fidelity through the entire post-production process.īut in practice, ACES can be…complicated.įor example, Adobe applications aren’t integrated with ACES right out of the box. The Academy Color Encoding System (ACES), is a grand idea.
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