top of page
  • bustalar87

The RAW Revolution: Mastering Advanced Color in ACES and HDR Workflows

In the ever-evolving world of color grading, one truth remains constant: the quality of your input defines the potential of your output. This is why we're passionate advocates for RAW video workflows. But why is RAW so crucial, especially when we're pushing the boundaries with ACES and HDR? Let's dive into the technical nitty-gritty and explore how RAW is revolutionizing our craft.

The RAW Advantage: More Than Just Big Files

First, let's demystify RAW. It's not just an image format; it's unprocessed sensor data waiting to be interpreted. This distinction is crucial because it gives us unparalleled flexibility in post-production.

Key RAW Benefits:

1. Bit Depth Bonanza: We're talking 12, 14, or even 16-bit color depth. That's billions of color values to play with, not just millions.

2. Linear Light: A 1:1 relationship with captured light, perfect for complex color science applications and VFX integration.

3. Wide Gamut: Often exceeding Rec.709 and approaching Rec.2020, RAW preserves colors your camera can see but standard formats can't contain.

4. Dynamic Range: With 14+ stops common in cinema cameras, you're capturing detail from the depths of shadows to the brightest highlights.

But let's be real – RAW isn't all roses. It demands serious storage space and processing power. A single hour of 4K RAW can easily exceed 1TB. Your workstation better be up to snuff, ideally sporting high-end GPUs like NVIDIA's RTX series or AMD's Radeon Pro.

ACES: The Swiss Army Knife of Color Management

Enter ACES (Academy Color Encoding System). It's not just another color space; it's a complete end-to-end ecosystem that plays beautifully with RAW.

ACES Superpowers:

1. Input Device Transform (IDT): Converts camera-specific RAW to ACES2065-1, the grand central station of color spaces.

2. 30 stops of dynamic range: More than enough headroom for even the most challenging HDR grades.

3. Covers 99% of visible colors: If humans can see it, ACES can represent it.

Here's where it gets exciting: Imagine grading a night scene shot on an ARRI ALEXA in ARRIRAW. You push the exposure +5 stops to reveal shadow detail. In a Rec.709 workflow, you'd be fighting banding. In ACES? Smooth as butter.

HDR: Where RAW Truly Shines

High Dynamic Range is where RAW flexes its muscles. We're not just talking about brighter highlights; we're opening up a whole new world of color volume.

HDR Grading Considerations:

1. Nit Levels: SDR tops out at 100 nits. HDR? We're playing in ranges up to 10,000 nits.

2. Perceptual Quantizer (PQ) EOTF: Allows for precise mapping of those extreme luminance values.

3. Expanded Color Volume: More saturated colors at higher luminance levels. This is where RAW's wide gamut data becomes crucial.

Advanced HDR Techniques:

1. Highlight Recovery: Found 2-3 stops of detail beyond the clipping point in that Sony VENICE footage? Thank RAW for that.

2. Gamut Mapping: Grading P3-captured content for Rec.2020 HDR output? Tools like Filmlight's Gamut Compression become your best friend.

3. Texture Preservation: Push that blue channel in a 16-bit ARRIRAW sky to extremes. No posterization here!

Real-World Workflow Example:

Let's break down a commercial shoot on RED Monstro in REDCODE RAW, delivering in HDR10, Dolby Vision, and SDR Rec.709:

1. Ingest REDCODE RAW into an ACES color managed timeline.

2. Apply base grade in ACEScct working space.

3. Use HDR parade scope to ensure key elements fall within HDR10 range (up to 1000 nits).

4. Create HDR10 trim pass, setting creative highlight intensities.

5. Generate Dolby Vision metadata, fine-tuning L1 (max luminance) values per shot.

6. Create SDR trim pass, using Dolby Vision analysis as a starting point.

7. Export all versions with appropriate color space conversions.

The Power of Precision

The intersection of RAW, ACES, and HDR isn't just about prettier pictures. It's about precision. It's about having the tools to realize a filmmaker's vision with unparalleled accuracy.

Consider this: When grading a sunset scene in HDR, you might set sky highlights to 2000 nits while keeping foreground elements at 200-300 nits. That level of control, that ability to guide the viewer's eye through luminance, is game-changing.

Or think about color volume: In SDR, pushing saturation often meant sacrificing brightness. In HDR, with RAW source material, we can have vibrant, saturated colors even in the brightest parts of our image. It's a whole new canvas to paint on.

Conclusion: The Future is RAW

As we push the boundaries of what's possible in color grading, RAW isn't just nice to have – it's essential. It's the foundation that makes advanced ACES and HDR workflows possible. It's what allows us to future-proof our work, knowing we can return to it years later and take advantage of new technologies and techniques.

We've embraced this RAW revolution. Our color scientists (because let's face it, at this level, we're not just colorists anymore) are equipped to handle the most demanding HDR and ACES projects. We've optimized our pipeline to efficiently handle RAW from all major cinema cameras, ensuring we extract every ounce of quality from your footage.

The question isn't whether you can afford to shoot RAW. In today's complex post-production landscape, the real question is: can you afford not to?

Ready to take your project to the next level with advanced RAW, ACES, and HDR workflows? Let's discuss how we can bring your vision to life with unparalleled color fidelity. Contact us today to schedule a consultation.

0 views0 comments


bottom of page