The camera manufacturer has to provide detailed information about the way it records so that the IDT can be created. The IDT is a type of LUT that converts from the camera’s own recording space to ACES Linear space. If the camera shoots linear raw, as can the F5/F55 then there is still an IDT to go from Sony’s variation of scene referenced linear to the ACES variation, but this is a far simpler conversion with fewer losses or image degradation as a result. ACES takes care of most of this for you, so you don’t need to worry about making sure you are grading “under the LUT” etc.ĪCES works on footage in Scene Referred Linear, so on import in to an ACES workflow conventional gamma or log footage is either converted on the fly from Log or Gamma to Linear by the IDT (Input Device Transform) or you use something like Sony’s Raw Viewer to pre convert the footage to ACES EXR. Where you place these LUT’s in your workflow path can have a big impact on your ability to grade your footage and the quality or your output. Without ACES when working with raw or log footage you will often need to use LUT’s to convert your footage to the right output standard. It’s designed to act as a common standard that will work with any camera so that colourist can use the same grades on any camera with the same results.Ī by-product of the way ACES works is that it can actually simplify your post production workflow as ACES takes care of an necessary conversions to and from different colour spaces and gammas.
ACES is a workflow for modern digital cinema cameras.
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