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Got something done, wohoo! 100% Houdini + Redshift

Although the above chromaticity diagram commonly gets thrown around to represent ACES (i.e., as ACES2065-1), we are instructed to not use that color space for rendering, but to instead to use the much smaller ACEScg color space (see the two compared in the first diagram, below) which represents a much smaller color gamut that is closest to Rec. 2020 (see subsequent diagram). We still lose out on a good chunk of the greens, cyans, and blues, as with Rec. 2020. For now, there aren't any devices that can display these colors anyways, but 10-20+ years down the road... Who knows? Diagram comparing ACES2061-1 and ACEScg on the two common chromaticity diagrams Diagram comparing ACES2065-1 and ACEScg with other common color gamuts

That is not entirely true. The original idea for ACES came from a digital Hollywood production frustration: You had for example 3 different camera manufacturer systems on set and like 4 different VFX facilities and two editing facilities in your 100 million dollar movie production. So in the first step you received the plates from the 3 cameras which all looked different because every one has a custom color system. So first you needed a color grader to unifiy them. Now you give them out to VFX for effects. Every VFX studio had a custom color workflow in the 90s so when you got the film with vfx back it looked different again. So the next round of 3 days of color grading started to unify the look. Now give it to editing. The same started. Now the director wants 80 takes to be changed. And it starts all over again. It was eating a lot of time and money and frustration. So they said: we need a technical system that covers all existing color systems and merges them into one: ACES So ACES is not really only CG orientated. It wants to merge all the multiple color systems and avoid all the annoying conversions between them to create the best possible standard for the digital image space. It took them 10 years and is still not finished. See here. ACES is so "big" and advanced it covers all the others "inside" its range to not destroy the image: It is way more powerful than those spaces we use everyday like sRGB and Rec709 in digital image creation. Problem is: our TVs and Screen are still in SRG/Rec709/Rec2020 so when working in ACES we need to "shrink" our footage back into the space of the output device.

ACES support out from a 3D Renderer is via OCIO. ACES System is in NUKE ( fully supported) , Davinci and other post programs supported

rec709 was the most used output for TV. the output for PC screen is still sRGB. but you can output (render out) as rec709 and in the post make the color grading in rec709 and than use gamut back to sRGB for PC or stay in reg709 or reg2020 for TV. so in you case the input is sRGB and the output is rec709. in Postproduction the input is rec709 and the output whatever is needed for.

well ACES is a great Color system. ACES is just the system. the colorspace is ACEScg, ACEScc, RAC709 and so on. The only two renders that support ACEScg are Arnold and Octane. Redshift work on a full OCIO ACES integration. There is a work around in Cinema 4D and Redshift to output ACES (sRGB) ACES (reg709) yet but you need a convert node between the color and the material input.