https://www.cinema5d.com/the-aces-workflow-future-digital-color/

The matrix is in the downloadable configuration: luts/custom/sRGB_to_ACES.spimtx

Short ACEScc tutorial video:

@balazer: Here it is (720p). Keep in mind that the original tests are Vibrant +2 +2 -1 -2:

Waiting for your sharing too.

I don't know how to help you. You don't answer my questions. Maybe I can help you with screen sharing.

Set the compositing gamma to 2.222, not 1.00. Render to a video file color space, not a monitor preview color space. I suspect that the filter you're using does not preserve color values above 1.0, and that's why the bright parts are clipped. ACES uses color values well above 1.0. ACEScc uses 0-1.

What input color space did you use? That was made using your FilmVision Pro filter? Does the filter preserve values above 1.0?

That doesn't look right at all. Can you upload the out-of-camera video? What input color space did you use? What view transform, and what rendering color space? Did it look right in your preview window, or was it dark like in that YouTube video?

You used the FilmVision filter? Standard filters mostly don't work in ACES. You can use ACEScc instead.

Start with the basics. Don't be adding filters until you can get the basic workflow working.

Creating an IDT from scratch is incredibly complicated. I don't plan to make a tutorial for that, but I can work with people to get more cameras profiled.

Thankfully the generic Rec.709 input transform is usually good enough. Here are two test videos from the Panasonic GH2 illustrating how.

This test uses a custom GH2 IDT: (repeated from the original post)

This test uses a generic Rec.709 IDT:

The Rec.709 input transform is the inverse of the Rec.709 output transform. So when you use Rec.709 as the input color space and as the output color space and you don't make any adjustments to the video in ACES, the video's color values are passed through without modification. That's what you see in the second video when the exposure setting is +0. When exposure compensation is applied, it amplifies the differences between the camera's output curve and the Rec.709 color space curve, showing greater differences as more compensation is applied. These differences depend on which camera you're using. At least with the GH2, the two curves seem to be fairly close to each other, allowing for about one stop of adjustment in either direction before the differences become too large. One stop is about all you need for real-world shooting. It's fairly easy to get the exposure within one stop of ideal just by looking at the camera's display while you shoot. And you can easily get the camera's white balance setting within one stop of the ideal in each channel just by eyeballing the image.

Of course it's desirable to have an IDT made specifically for your camera. A custom IDT removes the uniqueness of your camera's contrast curve, giving you the ACES RRT contrast curve consistently in all your output. A generic IDT doesn't do that. A generic IDT preserves the look of your camera's video, for good or for bad.

Here's the bottom line: it's worth it to use ACES even when you don't have a custom IDT, because exposure compensation and color balancing are far easier to do in ACES than to do directly on the Rec.709 color values. In ACES, you just drag some sliders. It's almost as easy as setting the exposure and color balance in the camera, and the results are almost as good. Working directly on Rec.709 video, you'll spend lots of time with color curves and high/mid/low color correction filters, and still your results won't be as good. When you get the midtones to look right, the highlights and the shadows will be off. When you finally get one scene looking the way you want, it won't be right for another scene. Rec.709 is optimized for the transmission of display-ready visual information. It just isn't the right color space for making adjustments that correspond to the physical world.

But don't take my word for it. Download a free trial of Sony Vegas Pro and try it for yourself.

@producer, please study the tutorial before you post any sample videos to this topic.You achieved an interesting artistic effect, but you were not using ACES how it is meant to be used. Vegas didn't come with an IDT for your camera. You absolutely need that.

To make the GH2 IDT basically I profiled the camera's luma response. I exposed the sensor to varying amounts of light and measured the luma response, and computed a linearization curve from that. Then I calculated an sRGB to ACES gamut conversion matrix. It's possible to do for other cameras also.

Here are plots of my measurements for the Panasonic GH2.