ACES IDTs for Davinci Resolve & ACES Rec.709 3D LUTs

What is this?

If you work in ACES, you are familiar with Input Device Transforms, or IDTs. These are the scripts that prepare your footage for ACES.
ACES already supports a lot of log picture profiles from different cameras, but there are still a few missing.
Since the white papers of log picture profiles usually contain all the necessary information to build an IDT, I decided to create some of these.

How does it work?

The IDTs are created in Davinci CTL format and should be uploaded to the folder containing your LUTs.
Then start up Resolve, go to Project Settings/Color Management, and choose one of the ACES working spaces at the Color science selector.
Leave ACES Input Device Transform at "No Input Transform", and choose the desired ACES Output Device Transform, like Rec.709.
If all your sources are from one camera, navigate down to Lookup Tables, and at Input DaVinci CTL choose the IDT you uploaded.
If you use footage from multiple cameras, leave Input DaVinci CTL at "No LUT selected", click Save and go to the Media tab.
Select all the clips from camera A, right click, and at DaVinci CTL choose the IDT for camera A. Do the same for camera B and so on...
Always do this in the media tab, never apply an IDT at the node level!
It's also important that my IDTs expect full range input, so select all your clips where you plan to use them, right click, and at Clip Attributes choose Data Levels "Full".
However, when using Z Cam footage, leave that option on "Auto", as I've seen both full and limited range ZLog2 footage, and Resolve handles both correctly.

What else is in the package?

• If you like the ACES Rec.709 look but you want to stay in Davinci YRGB mode, I give you a bunch of 3D LUTs that emulate this look.
  They range from 1 stop underexposure to 3 stops overexposure in 1/3 stop steps. (The new Z Cam and GoPro LUTs go from -3 to +3.)
  There is also a lower contrast version for each of them, if that's what you prefer.
• My current ACES Rec.709 3D LUTs expect that the source is interpreted as full range (with the exception of Z Cam ZLog2, I've seen both full and limited range files).
  In Resolve it's just a matter of a few clicks as described earlier, but in Premiere or FCPX you don't have such an option.
  Therefore I also give you LUTs that adjust levels if necessary. I suggest you check my video to see when to apply a level adjustment LUT.
• There is a highlight fix version of the IDT and the 3D LUTs in the Sony S-Log2/S-Gamut3.cine version. More about that in the video.

Purchase

The purchase process is automated, you should receive your personalized download link to your PayPal email address within a few minutes.
If you don't receive your link within 24 hours, please contact me. Always make sure to check your spam folder!

I don't offer refunds, but you can send me links to some of your stills or short movie files, and I'll apply the product to them. This will cost you nothing and you'll know exactly what to expect.

Fujifilm F-Log/F-Gamut	$20
Fujifilm F-Log2/F-Gamut	$20
Nikon N-Log/BT.2020	$20
Sony S-Log2/S-Gamut3.cine	$20
Z Cam ZLog2	$20
GoPro Protune Color: Flat White balance: Native	$20
Leica L-Log/BT.2020	$20