ACES VFX and MoGraph Workflow

The Academy Color Encoding System (ACES) is ambitious. Theoretically, it promises a full-proof color management system, ensuring color accuracy and fidelity throughout the entire post-production pipeline. In practice, utilizing ACES across multiple platforms (and vendors) can prove to be quite intricate. One notable challenge lies in its integration with Adobe applications, which lack native compatibility with ACES. Many artists opt not to employ color-managed video workflows in programs like Premiere Pro or After Effects. While achievable in these platforms, they simply don't execute it as seamlessly as dedicated software such as DaVinci Resolve, Nuke, and Flame.

DaVinci Resolve

This is one of a handful of reasons our editorial team at Deadeye is migrating to DaVinci Resolve. Eliminating the sometimes precarious "roundtrip" (from Adobe Premiere to DaVinci and back to Adobe Premiere) naturally increases efficiency in our pipeline. In fact, the editing power of Resolve is proving superior to both Premiere AND Avid for us. But for VFX and MoGraph other platforms, namely After Effects, Nuke, and Flame are still absolutely essential. So how do we maintain our color management system (CMS) across these different applications and disciplines?

Integrating VFX and MoGraph

The realms of motion graphics, color, VFX, and picture finishing often run in tandem. Eventually, these disparate elements must harmonize to form the final output. However, this integration process can be a source of frustration when undertaken without a unified color pipeline.

Traditionally, graphics and finishing are developed in a display-referred space like Rec. 709, with renders exchanged for matching and integration. While this approach can function, it has many pitfalls, limitations, and is prone to bottlenecks.

Graphics integration typically occurs post-color correction and conforming, typically in the final phase of post. If a graphic designer has fine-tuned elements based on offline picture references, additional adjustments will be necessary to align with final color grade.

Such iterative processes consume valuable time and resources. This is what a color management system aims to prevent.

After Effects

If our shots are coming straight from production there is not always a defined CMS at this stage (ACES or otherwise). In order to future proof, we will work in the shot's native space (RAW, LOG, etc.) and never with a baked-in Rec-709. Files are often accompanied with a LUT or CRT from DIT or Camera for reference, but this is aspirational color... Not to be construed as the final look. We apply the color reference to an adjustment layer, never baking directly into any media. When the work is done, we render back a composited shot with mattes without the adjustment layer, so the shot moves to the editor and/or colorist in it's native format, retaining full creative control over the color.

If we know ACES will be used for the project, we can pass plates provided to VFX through DaVinci and bake ACES into them.