Help with Workflow from camera to final comp using ACES.

[peter_butler537]

Hi all,

I've only just started reading up on the ACES workflow, I never realised how complicated it is. I'm trying to figure out the correct workflow people use to comp their CG onto ungraded footage from a camera using the ACES color management. 

So I'm aware of how to add the correct IDT's to things like jpegs and EXR's but that doesn't help me when it comes to using film footage in the backplate. I'm trying to figure out how you add the correct look to the ungraded footage so that it looks right in Maya and I can match my CG to it comp it together in After effects and then hand it back to the client as a linear file so that they can add their own look to it. 

Do I apply a preset SRGB to to ungraded footage before I import it into Maya. Has ACES got special luts that you use for each camera?

The camera is a Sony A7 so I'm assuming I'm going to need to apply S-log to it? My workflow will be importing the shots into Maya as backplates. Rendering whatever CG I need and then exporting just the CG as EXR's and comping it in After effects. 

Sorry in advance for my ignorance to all this but a dummy guide would be awesome if someone has the time.

Many thanks,

Peter

[dflood]

"The camera is a Sony A7 so I'm assuming I'm going to need to apply S-log to it?"

If the footage was filmed in S-log then yes. If it was filmed in Rec.709 then no. I'd suggest debayering your film footage in DaVinci Resolve and converting it to ACES 2065-1.

"My workflow will be importing the shots into Maya as backplates"

If doing this they will need to first be converted to ACEScg.

"Rendering whatever CG I need and then exporting just the CG as EXR's and comping it in After effects."

I'd suggest using Nuke instead.

This might help: https://youtu.be/FT7ZqNB3Opg?si=0IS5EPFins9cLsYh