Transcripts
1. Introduction: Hey, guys. Welcome to
the ASIS tutorial. My name is Gijo Sengupta, and I am your instructor today. A little bit about
my background. I am a huge, huge film nerd. I dabble from pre production to editing to production to cinematography to
being a colorist, to VFX, to CG, I dabble in everything. I have a bachelor's
and a master's degree in films and animations with a specialization in
VFX and CG production. And I just love
everything about film. I can talk about film day in, day out, night in, night out. And I have expertise
in every single one of these films
because literally I have gone and studied each and everything
out of my own way because of my pure and
sheer love for the art. Some of the works that I've done is mostly directing, editing, coloring in short films, music videos, and also
a huge web series, which is now on prime video, and I'm super humbled
and super blessed to have had over two dozen
awards and nominations, including Cs of 2024, and it being
recognized by some of the beautiful judges across
the world means so much, and that's what
keeps me thriving. And just the sheer
art of doing it and telling my story is just it's
an adrenaline rush always. And in my entire career, there are things
which I have learned. There are things which do not
get learned in film school. There are things which are not
available on the Internet. And one thing which is not
available is this tutorial, this class because ASIS stands for the Academy
color encoding. So ACIS is a color space
which is used during VFX productions so that all of the cameras can be in
a common color space. Basically, if you have a
Sony camera, an AR camera, a black magic camera, all of them have various
color spaces. ACIS the Academy color encoding color space is a huge
gamut and what it does is it streamlines processes
regardless of what camera use so that the color space is seamless across all cameras, and it is a linear color space, which is standard in VFX. Now, we know this in theory, but there aren't really
places where you can go to understand how
to actually use it. In this class, I will
dive a little bit deep into what ACS is and
how exactly to use it. We will be talking about how
the entire round trip works. So the industry standard
software are many. We're going to be talking
about diventiRsolve in this and for compositing and CG, we're going to be
talking about and Maya. These are the three main industry standard
softwares that are there, and I will show you how to do a complete round trip in ACS. So we will start off with DewciRsolve where we
will have our footage from a camera and I
will show you guys how to take that footage into
your compositing software, which is Nuk with the right settings in the
right color space transform. And then I will also show
you how you can export your CG elements from Maya once we export
those CG elements, how to bring them into Nuk
with the right settings, I will show you a basic
composite in Nuke. I will also show you
the settings of Nuke of how exactly apply it so that the color accuracy is there across all three
different softwares, which is Maya, Nuke, and DaVinci Resolve because color space accuracy
is super important. Basically, what I'm
going to be doing is I'm going to be
removing the guesswork. Everything is going
to be scientific, it's going to be one plus
one is equal to two. After that, how to bring
the footage back from Nuke back to Dewenti Resve
and the settings over there and getting
Deventire Resolve as you're finishing software to send it to your clients to OTT platforms for your final film
submission, whatever have you. So this entire
round trip between DeventiResv Nuk Maya
and how to go about it. Proper step by step is what this class is
going to be about. And this works across
all softwares, but DaventiRsolve is very, very intuitive, very,
very UI friendly. Nuke is a little bit daunting, so the settings are
hidden in certain places. So I will be walking and hand
holding you through that. The resources, every single thing I'm
going to be providing, I'll be providing a CG
file, which is a Maya file. I'll be providing a
DeVinciRsolve project, and I'll be providing
a Nuk script. So you can follow along
and see how it works. Again, this is applicable
to all cameras. It doesn't matter
what camera you use. Again, it's because
we're working in ACS. So get ready. Buckle up. We get a cup of coffee, and let's dive right in into
the ACIS round trip. Again, keep in mind, I am not
really going to be talking about the creative aspect and color matching
in the compositing. I'm going to be talking
more about how to work between softwares
using the ACIS color space, right. So keep that in mind. This class is not for people who want to
learn how to composite. This class is for
people who want to use ACS and just do not know how to do the settings between two softwares and how the
software handshake each other. That is what I'm going
to be talking about. This is not a beginner
friendly class. It requires a certain
amount of knowledge. I would say this is intermediate
to expert level class. You will have to understand
what color space means, you will have to understand
what the transform means, and you will have
to have a fair idea of how to move around and a basic idea of how to
move around between the softwares and obviously you should have the
license as well. And that's pretty much it.
So let's dive right in, and you can always
post comments, hit me up on Instagram, and we'll see how it goes. See you guys there
in the next lesson.
2. Understanding Color Gamut and Gamma: Alright, so before we get into the nitty gritty
of the softwares, let's chat about what
ASIS actually stands for. So basically, it stands for the academy color encoding system. It is basically a color
management pipeline that is used for the entire VFX industry
from live action to CG. So when you want CG
to be kind of um, super imposed on live action, and the live action has been
shot on different cameras. ASIS basically helps
streamline that process. So I have a bunch of notes that I have
kind of gathered out throughout my entire life, and I'm going to be talking
about each point and as to how ASIS actually helps
in such a situation. So it is very important
to understand how the entire science works. So ASIS kind of
handles two things. It handles the color gameut
and it handles the gamma. So first, let's talk about game as you can see on the
screen right now, this is called a CIE chart. So this is basically the range
or border of color space. So this gamet or this color
is what the humans can see. These are all the
colors that we with our eyes can see at this
current point of time. Obviously, we haven't
evolved yet, but yeah, the difference between the
human eye and the camera is cameras don't see
the entire color. They see only a part of it. And a common term that
you might have heard is SRGB or you might
have heard as Rec 709. These are the things
that the camera sees. As you can see in the
triangle specified, this is the range that is
only visible by the camera. Now, displays such as your TV usually
depends on the brand. They usually show Rec 709. Most theaters, if you go to movies such as
IMAX and stuff, they show DCIP three or
sometimes even Rec 2020. As you can see, the triangle of DCIP three and Rec
2020 is much more, there are more colors that
you can actually see. But again, not the entire color gamut of what the
human eye can see. So the bigger the triangle means the more
colors are visible. On the camera or
either on screen. So sometimes, you
know, TV, basically, the salespeople at Best Buy or Video sales or
like at Chroma, they tell you, like,
Oh, my God, guys, listen, you have HDR content. So true HDR is actually you need a certain amount of luminance on your screen to actually
achieve that true HDR, the true triangle of
that color gamut. So it has to be at least
1,000 candela/meter square. So that candela per meter
square is equal to nits. So 1,000 nits is the
minimum luminance that is required to
actually show pure HDR. Most TVs, most computers
only show Rec 709. You can see the
difference between the two gamets that I'm showing
on the screen right now, one triangle is rec 709, and the real true HDR is
Rec 2020 or DCI P three. So do not get scammed guys
when people tell you, like, Hey, this is HDR, right? Again, nits is the
measure of luminance. Right now, with
smartphone these days, I have the 16 Pmax. This camera shoots. I mean, the display is 1,000 nts. So this can actually
show me through HDR, but sometimes TVs
cannot, so be aware. So now, where is
ASIS in all of this? So let's zoom into the gamet. So ASIS is the triangle
that takes everything, basically the entire
gameut of human vision. So that is what ACIS is. See how powerful that. Is the biggest, if not, one of the biggest
game color spaces that is available to us. So basically, the reason
why we use ACS is because it can take all
different color spaces from all different cameras, whether it is your
iPhone, whether it is a red camera, RE camera, Sony DSLR, cannon DSLR, it can take all of
these color spaces. So that is what Gamet means. Moving on to the second area, which is called a Gamma. So Gamma basically is a value. It talks about brightness. So let's use a different
chart over here. So you can see over here we
have a simple X and a Y axis. So the X axis is basically
the input luminance. The Y axis is the
output luminance. So over here, and if
we draw straight line, that equation would
be Y is equal to X. So now the Gamma is basically
the exponent of the input. So if you can see the exponent, which is the G of the input. Now the Gamma, when
G is equal to one, means the graph will
be a straight line. This, my friend is called a
linear transfer function. All right? This is what
linear color space means. So basically, if you look at it, if the input value
is 0.5 or one, the output value will
also be 0.5 or one. So the input is
equal to the output. So this Gamma
transfer function is what this entire concept is. Now, I'm getting to why
it is important in Aces. Now, when it is non linear, we see let's take this example. If the Gamma function, which is G is equal to 0.5, then we see the curvature
of the graph is like this. So basically what this means
is this is non linear gamma. So now, for example, if the
input is 0.5 on the X axis, that means the output is
probably around six or seven, so it is not really linear. If you take the other example, if G is equal to 1.5, you can see the curvature goes downwards and then upwards. So this is also non linear. So the input is not really
exactly matching the output. So it is non linear. Now, if you take a look
at the real world, the real world operates on the light waves
that we see around us operates on a linear way. So if you switch on two bulbs, two bulbs, input two bulbs, there's output two bulbs. And that most three D
softwares like Maya blender, Cinema four D, all of them
work in a linear color space. So if you turn on two lights
in a in a CG software, two lights get turned on.
Everything works linear. However, the human eye, what we see is we
perceive non linear. Let me show an example
with the same graph. If you take this
graph and you draw a non linear graph like this. Now imagine you're in a room
which is completely dark. If it is completely dark and
now you switch on one bulb, let's say the bulb's value
is 0.2, if you look, the output would be much more
brighter than the input. So if you're in a dark room
and you turn on the candle, you see a huge difference
in the dark room, correct? Now, if you turn on the
same bulb in a daylight, taking the graph
into consideration, which is it's already bright
and you turn on a bulb, you don't see much
of a difference. So humans perceive
light non linearly. So eyes are more sensitive to brightness in the
darker, darker shades. Now, why is these
graphs important? I'll tell the way cameras
do is cameras have two ways of showcasing
showcasing color space. Gamma, basically. One is display referred and one
is scene referred. So display referent is mostly takes in less amount of light. As you can see in the graph, the amount of light
is pretty much less. And same thing in
scene referred, it captures more light and
it captures more light, so more information
is available, which is either you shoot
raw or, like, you know, ARI raw, red raw,
black magic raw. This has too much information, which is why on the shadows and the highlights,
everything is there. So that is why in raw, you
kind of see like a flat image is because of the fact there's so much information, it
flattens everything out. But the information stays inside because it's a raw format. Same thing goes with log. If you see the log has a special
Gamma transfer function, the graph goes way up and
then it kind of goes down. So basically what this is
is it gives in more value, but obviously Raw has more
light information than log. So now what ACS does
is regardless of whether it is display
referred or it is scene referred or
whatever color space, it takes everything and it converts it into
linear color space. So now linear color space. Now, if your footage is
now in linear color space, and your CG is in
linear color space, then you can put them
together and then apply that Gamma correction later on after both of them
are composited. So that is what we
will be teaching you, what I will be teaching
you inside the software. In theory, we all know this. There are bunch of information and articles
which is there online. But what I'm going to teach you is how to take your footages, which is not linear by
default. It has a Gamma curve. We will convert
that into linear, which will match our CG
software, which is also linear. We take that, composite
it in the linear format. Then we bring it back to
our editing software. In this case, DeVinciRsolve, and then we add
that Gamma curve, and then we can send
it out to our clients, send it out to our Netflix, Hulu, Amazon Prime,
whatever you want. That process between DaVinci
Resolve, Nuke, and Maya, that round trip is what
I will show you and the settings in each and every single one of those
softwares. All right. Let's get started or
keep your software open. We will be working on three
different types of footages. We'll see one with an iPhone see one with a Black
Magic raw footage, and we will see one
with a logarithmic, which is a S log two
shot from a Sony camera. So we'll see these three
types of footages and we'll see how to
convert them into ACS and how ACS is super helpful in CG and live action
compositing. Let's get started.
3. Prepare Footage in Resolve & Export: Step number one is we
got a DaVinci Resolve. We prep every single
footage that we have to send to our VFX team, A? So I'm going to show you exactly how to prepare three
different types of footages, one from Black Magic Raw, one from Sony Slove three, and one in iPhone footage. And this is how the VFX team will expect files
from the editor, or if you're the VFX person, this is how you should
expect the files to receive. So to over here, you can see first
clip over here. We have this is Black Magic aw. Second one we have
is Sony Slog three. The third one, we have an
iPhone 16 Pro Max footage. All right. So step number one, what we do is first, we
go to the color page. All right. So in the color page, if you see Black Magic aw, the difference between raw log and regular iPhone
footage is this. If you have raw, you
have access to all of these parameters,
which is right here. The decode quality
decode using project, if you take a look at the Sony, the options, none of these
are even available for you. Same thing with iPhone, none of these are available for you. So only with Black Magic raw, if it is raw, only then
it is available for you. So this is what we're
going to be doing. Firstly, we're going to convert this entire footage
into the ACS pipeline. So usually what people
do is they go to the settings and you can see
in the color management, they usually go over
here and do ACS. I personally do not do that because I work with
different cameras. So making an entire timeline
on ACS doesn't make sense. I'm more of a clip
by clip person, so I have more control
over each clip. I keep it regular
default settings as to what it is. Here,
take a look at it. All right. And now let's go to Black Magic. Now first thing that we do is
we take the decode quality. Instead, we use project settings that
keep that as normal. Then we go to the project
and we change that to clip. Then the color sign, what we do is we
make it Gen five, which is okay because
it's usually shot in black magic pocket
cinema cameras six K, and then we take
the white balance, which is as short,
which is okay. I'm good with the white balance. I clicked on it as
I did it properly. Then we go here,
we choose ASAP one and the Gamma we choose linear. So as you can see, your footage is completely,
completely broken. So reason why is this is how
linear color space looks. So you would be thankful to your eyes that you
can see Gamma. You can see non linear
because this is how the linear thing looks. So now, your footage is
officially in the ACIS pipeline. You have to do an ACIS
transform right from here. You take this, you drag it here. And you're choosing
your ACS version, which is 1.3, your
output transform, you do Rec 709. Now your footage looks normal. Now we can add a couple of nodes beforehand and we
can do a grade. What we will call this,
we'll label this, we'll call it ***
ODT, over here, let's do a simple white balance, and over here we do,
let's say, your look. In white balance, let
me go to my colors. Go to my colors. Everything
a little bit too red. Let's cool it down a little bit. Et's cool it down. Do not forget to save.
And if you want, you can always go to
the raw over here, and you can kind of change
the white balance as well. So instead of me doing it here, let me just delete this. Let me just change the
white balance here. Let's do custom,
and let's change it to School it down a
little bit, yeah. So we'll do maybe 3,000. So make it, so
balance it out maybe. Not 2000, maybe 3,000. Alright, perfect. And
now we do a look. So over here, let's see, we add some we add
a bluish look. Let's take the mid tones, raise it a little
bit more higher, see the highlights,
make it more higher. Make it more higher. Let's take, uh take the look. Let's add another
node over here. Let's do a quick
primary balance. Let's lift it up a little
bit, take the gamma up, take the lift down, add
a little bit contrast, take the highlights up,
stretch it out a little bit. You see, because of Aces you have so much
room to play with. Let me just bring
the gamma down, stretching out the waveforms,
if you see. There you go. We do that, we'll
just call this sorry, we'll just call this
primary balance. And in the look,
we go to the log, and let's say we add just give it a blue tinge, let's say, then maybe we
could add, let's say, another contrast.
1.1. Now, contrast. Now this is basically, let's say this is my look that I have. This is my grade. I
just did a rough thing. This is my grade, and this is my Aces output device transform. Now you are ready to send your footage to your VFX artist. Now the way to do that is what you need to do is you need to turn off every single grade. Including this, this. So now, your entire
clip is in ACS. Now what you need to do is
you need to render it out. The way we render it out is
we need to render it out in a EXR format. All right? Let's browse here. Let's choose Four VFX from DR. Let's
make a new folder. We'll call it Braw. Be raw, select the folder.
We'll do a endpoint. We'll do a outpoint. We'll
do outpoint over here. Now EXR, we'll call it B raw and add to render
Q and you render. So now we're done with our Bro. Now. Now what I can do is
since it looks so nasty, let me just turn these
back on. All right. So again, because of this, you're able to see the Rex 709, which is what your
TV, your computer, your phone would look good. Otherwise, if you
do not do this, everything is going to
be in linear space, which is like this, so it will
not look good. All right. Moving on to the next footage. Now, this is a Sony
S loc three camera. It was shot over there. We need to make sure that
it is in ASIS first. So for that, what we do is
we have a ACIS transform. So over here, since there's
footage no setting for raw, we have to manually put ACIS input device transform
this time. All right. So what we do we label this
as ACIS IDT over here, we put ACs ODT. Basically, every single thing inside between these two nodes is what ACS is going to be. Over here, let's click here and what we'll do is
the input transform. I know I was shooting this at
a a log a Game three sine. Make sure you know
where what camera and your color space and your
gamma is and look at that. Immediately, this is now in
completely linear space. This is how it looks linear. Now, the ODT, same thing I
do other ACIS transform, and I add Rec 709. And look at that
because of that, now it's completely
into Rec 709. Now, I have a grade
already which is made. So what I'm going to be doing is I'll just add this over here. All right, so I added
the grade here. So basically what I
did in the primaries, I basically kind of did a
little bit lift gam again. And in the look, I kind
of did the same and I created this look of ACs. So we have this
is our final look and as IDT As ODT all right. This is what we have here. And now now we got to
send this for VFX. So the way to do that simple. This time we turn this
one off, this one off, and this one off,
so complete linear, and we go to the deliver page. We add a input and right here, output. I and on point. We'll call it S log three. Same thing, we will make a new
folder called S log three. Select folder, and XR RGB half, add to render Q and
render. Let me just wait. There you go. Your Sony is done. Same thing with your
iPhone footage. Let me go back to color. Let me turn these on again. So now you can see the footage is normal. Now we go to iPhone. What I will do is, I'll just
copy this entire grade here. But obviously, it's not
correct because this one, the input device
transform is not correct. So what we do is we take
the input transform. And I know it was
at rec 2020 HLG because the iPhone 16 Bromax is able to shoot at true
HDR, so I just do that. Look at that it's already fixed. Maybe I'll take the
primaries a bit. I'll lift it up and
take this down, maybe increase the gamma a
little bit more. Like that. Take the look maybe
and adjust the grade, maybe make the mid tones
over here a little bit more magenta, take
the highlights, make it more magenta,
just as a different look, and we take an opposite and
put this over here as green. So green and magenta. This
is our look now guys. So now what we do, same thing. We keep it in linear. We turn off these two grades, turn off the ODT, This is
complete pure linear space. We go to our deliver page. We set the point, go over there. Set the outpoint. Same thing. We call it iPhone.
So that's t three. We do iPhone. So that, sir, RGB half, and render. So that is how we have
how you export and how you prep your footages
in DaVinci Resolve for VFX. So basically, ideally, you should have three
different folders, which is Bra which is
your EXR sequence. Then we have your iPhone, which is also an EXR
sequence and SLG three, which is also which is
also an EXR sequence. So this is how you prep your
footage in DivingiRsolve, and send it for VFX.
4. Prepare CG file in Maya and Export: Alright, so now that
we have exported everything from our
live action footage, what we're going to be doing is we're going to look at Maya, and we're gonna show how and
what are the settings for that and what are the
settings that is needed to export from Maya so that
we can composite a Nuke. Keep in mind, going to
be doing the CG and live action composite only
on this particular um, footage right here, right? So in this footage
right here is what I'm going to be doing the CG
and live action composite. Basically what we're
going to do is we're going to take a
computer old computer, I'm going to place it
right here on this table. I showed you this clip and
disc clip just to make you understand that you can
work in ACS with any camera, any phone as long as you
know the color space and the um gamma of the camera. That's the only thing you need.
Otherwise you can work in ACs across all platforms,
exactly the same. All right, so we're
going to take this one into consideration. And what we'll do
is we'll open Maya. So over here, I have this
computer setup with, like, a plane which is ready
to capture the thing. I have a camera set up as well. So if we take a look over here, I have a camera, which is a render cam, which
is set up over here. I have lights set up, um, I have lights setup
ready already. I have one, uh, sky dome light. I have a LED shape,
I have an LED shape here and I have an area light. I have basically replicated the entire lights of the
entire office space, and also I have an
HDR, which is, uh, right here, which you can
put in your test as well, which is called office
environment dot HDR. Again, I'm not getting into
how to do all of this. The main thing is the settings. What I did is I added
settings and I added AOVs. I added RGBA, a Z
pass, diffuse direct, diffuse indirect, emission,
shadow difference, specular direct and
specular indirect. These are the AOVs
that I have added, and they will be in
a multi layer EXR. So once you're done
with your scene, once you're happy with
your scene, have it here. All I need to do is render
it out with the AOVs, and the way you do that is
you go to rendering here. You choose render,
render sequence. You choose your location. I
have already rendered it, so I'm not going to render it. And for you guys,
I've already provided the rendered sequence
for you guys. You will find it in
this folder exactly. Let me show you in CG, you will find the master layer right here, the master layer. You'll find that and you'll also find the
ambient inclusion. Again, I am not in this lesson, I'm not teaching how to
do all of the CG passes. But this is more of like, hey, if you get CG stuff, this is
something that you expect. You would want
somebody to give you a multi layer EXR
from the CG software. It could be Maya, Unreal Engine, blender, cinema fody,
whatever, have you, all right? That is what you need. And now what we're going to be doing is we're going
to go on Nuke. We're going to take
the live action. We're going to take, um the CG I'm going to
combine it together, and then we'll see how
it works. All right?
5. Nuke Settings in ACES and Importing from Resolve: Alright, so what we do now is basically we before we get into Nuke what we need to do,
exporting the grade. So obviously, what I did over here is just a simple grade. But obviously your colorists,
your color grading person, your color correction person has done a whole lot of work, so you need to do
justice to that. So over here, what you do is you turn off the oddity
for each of your clip. So you have this one turned off, and in this one, you
turn off the IDT, you turn off the oddity. You take the third one,
you turn off the IDT, you turn off the oddity. So what you want to do is you
want to export only the t, which includes the color
correction and the color grade. So what you do is you
click on the clip, you go generate
ut, 65 point cube. I've already done
that, so I'm not doing it. Same thing over here. You select that. Generate
ut, 65 point cube. Same thing you click
here. Generate Lut, 65 point cube. All right? That is what you do. And then
after you export the Lutz, you can just turn these back on so they are visible
again. All right. So now, what you do is you open. All right, so once you're
Nuke, what we did. Now the reason why we turned
off the oddity in Denture resolve and exported
the grade is because we're going to be
doing the Oddity in Nuke. So it is purely focused on the
grade so that we can match the CG with the live action. So what I'm going to do first
before I get into the CG, I'm just going to show
you how the colors are exactly the same between
DeventiRsolve and Nuke. So before we get anywhere, you go to project
settings by clicking S, go to color, go to OCIO
and then from OCI Config, you click ACs, ACS 1.2. Now your entire pipeline is
in ACS then you click SRGB, you do the ODT to Rec 709. Now what we do is we take each um clip which
we took a Bra, we took the iPhone, and we took the Slov three. We drag them, so we have all
three of them over here. Now you see they're automatically
converted to Rec 709, It's because the Oddity, we just did that Odity on Uk. Now what we're going to
do is going to go here, tab, we're going to
choose a vector field. Vector field basically
allows us to add a t. So we click here. We choose
the ut which we exported. You'll find it on the ut
folder. So this is SLC three. Boom. Look at that. Same thing. We do a vector field from
the iPhone, choose that. And choose the iPhone,
boom. That's done. Same thing here. Vector field, go to the folder.
Give it a second. Choose the B rot, boom. Now, if you take this one, for example, and you look
at that exactly same. Same thing if you
look on the iPhone. Exactly the same.
Zero difference. And same thing if you look at
the Sony. Let's look here. Exactly the same. You have done a proper, proper conversion in Nuk well, in Nuk as well, where
you're taking the grade, you're taking the ACS pipeline and you're converting that
into a linear workspace. And now you are ready
to start grading your CG and your live action
compositing together, which we look at
the next lesson.
6. CG & Live Action Composite with Export settings: Alright, so now, what we're going to be doing
is we're going to be importing the CG
files. So same thing. You take the EXR, take
the master layer that you've rendered from
your CG software. You just drag and drop
here, drag and drop here. So I have one master layer, which is the computer, and I have another one, which is the ambient Eclusion. So I have both of these. And once you import them, basically now is you take the live action footage and
you grade them together. So I've already done a grade. I'm going to delete this, and
I'm going to go right here. So I already if you take a look, I've already taken care
and I have done it. So I did a previous
render over here, and we see like we
have a footage which is and I was going to view that. I've already done a grade, which is already there, and basically what I'm
doing is I'm just going to be merging it
together with this. What I've done is I've done the entire grading and
the CG compositing, what I've done is I've
taken out diffused direct, indirect, the specular,
the specular indirect. I've taken the emission as well, the emission from the screen. I've taken that, I've
taken the shadow. I've taken different types
of lights, which is the LED. Outside, the greens,
the top lights, and I've merged them,
composited and grade them. I've taken the AO and
blended it over here. As you can see, I've taken
the tech passes as well. I've added a little depth
of field over here and I've merged it with the final
footage, which is that. Then I have, graded and finished the entire
thing over here. Now, what you need to do is as simple as this, you
need to go over here, you need to do a write
node. Write node. You basically take your file,
you name whatever you want. Let's say I choose, let's say, test dot EXR. And you save that.
Sorry. My bad. You do a right write node. You choose the file,
and then let's say you do maybe not AO, but we choose actually, let's choose another folder. We do Nuke, file
renders from Nuke. So we do this one,
but instead of here, we just choose Version
five, let's say. Version five, save it, and then you do EXR options, you do 16 bit as good. Falta XR, color space,
let it be as it is. It's a linear color space. A says, you've
already set that up and I'll just take a
look at the settings. I just did that
EXR, 16 bit half. Again, space, leave it as it is. Default, we leave it
because we've already done the IDT and the ODT
and Nuk beforehand. You leave it as it is, and
as soon as you're done, all you need to do is you hit
render.'s go RGPA actually. Choose that save right
here, you hit render. And then since this
is a still image, we don't need to worry
about a sequence. So this is pretty easy. And once you render it
out, then you are all ready to go back
to Diving resolve, and I'm going to show you
the next lesson how we can take the final steps
and get it together. Now, over here, obviously, one thing which is super
important is I did not pay attention much
to this grading, these grades, these
color corrections. This is something
that as a VFX artist, whatever CG stuff
you need to do, you need to make sure it matches with the grade
that the color sends you. So keep that in
mind. This is not a tutorial on how to
composite and how to match. This is more of a tutorial
on the round trip of ***. I'm just reiterating
that once again. In the next lesson, we will take this EXR,
the P wrote from Nuke, and we will open
DaVinci Resolve and put that on the timeline and it's ready without
any loss of quality, so it's ready to do
the final render of the movie or
whatever you want.
7. Final Step: Import back into Resolve from Nuke: A, guys, so keep in mind, whenever you write
or render from Nuke, make sure you only and
only export the CG. I forgot to mention that
in the previous lesson, but make sure the write
node is only from the CG, the final pipeline, make
sure it's only from the CG. Do not include the footage as then you'll be
double rendering it. It's because you
want to preserve the highest quality of your
footage that you have shot. So re rendering it even
though if it's EXR, there will be a slight
loss in quality. So only render the CG with Alpha channel so that it
has transparency, right? So now, let's open
DWG Resolve again back and let's do it again. Now, this is the render
that is directly from Nuke. Can find it over here, the final render from Nuke.
You can find the file. I have not if you do
not have rendered it, I already provided
this file with you. You can just drag and
drop it in your timeline. So now if you see this is the computer that is rendered
from Nuke after grading, compositing, whatever, have you. Now all you have to
do is you need to drag and drop it
on your timeline. So before I do that, this is how it's
going to be, yeah. So take a look at this. This
is how it's going to be. We drag and drop, and we make sure it is
literally on top. So right here. So now, as you can see, immediately, if you see, the computer
is not correct. Why is that? It is because
CG is linear color space. That's why it looks linear. You need to add a Gamma to it so that it looks in
the right color space, which in this case, we're working on is Rec 709. The way to do this is you don't do a color
space transform. Since we know it is CG, since we know it is from Nuk, we exported seen linear EXRs. All you do is you click on
the EXR or your EXR sequence, and you go down to your ut, you go over here to VFX input. Or output, I do
linear to Rec 709. As soon as you do
that, take a look. Now it is properly,
properly balanced. Now, obviously, this grading
and this color matching, the luminance matching is not correct because we
haven't paid attention. But over here in your NUC, this is where you should have
matched it with the grade. But now this ends the round trip of the
entire ACS workflow. To summarize, we learned that we start from
the color page, we do all the grading and
everything that is required. Add an ACS input
device transform, ACIS output device transform. We export it as an EXR to Nuk. We make sure NUC Nuke
settings are proper. It is through OCIO. And When you put the
files of the footage, live action footages
onto resolve, you make sure you add the lot
as well from the colorist. So the colorist needs
to make sure it sends you the lot file without
the IDTs and the ODTs, and then you apply that lot. Take the CG, composite,
grade it together, grade it properly so
that it matches so that the name of the
game is realism, right? So make it look realistic. After that, you
export only the CG, go back to the timeline, and when the editor will know what to do if your
editor is experienced. That ends the
overall round trip. If you have any
questions at all, this is a very
complicated process, and I don't think this
streamline process has ever been defined
on the Internet yet, at least if you know
someplace that is defined, push that link, push that
article through my side. But, I hope this really
helps you guys to streamline your VFX process and streamline your
ACIS pipeline. So you can shoot from
any camera and still get proper color accurate
VFX footage from CG. All right? Thank you.
8. Thanks!: Alright, so that ends the
class for the ACS round trip. Hope you guys got something
great out of this. Such a thing honestly
does not exist. This is my personal
way of doing it. And it was through trial and
error in my entire career. And I'm sure it helped you guys. And if you have any questions, please post on the discussions, DME on Instagram, email me. And again, ASIS is industry
standard of how to work. It is an industry secret. It is not really shared by much. This does not exist anywhere, at least for
DivintiaRsolve and Nuke, the round trip, proper
round trip. And also Maya. So I hope you guys had fun, and you guys go back, got a lot of insight as to how Hollywood people
work. Thank you.
Jijo Sengupta, Be the Master of Space & Time
