I don’t like the look of ACES, can I still use it?
TLDR; Yes. ACES is a technical framework, not a creative one. While it has a default rendering or “base look”, it is designed to accommodate any creative look through the use of LMTs (Look Modification Transforms).
Every color‑management system implicitly defines a “base look” through the technical and creative choices made when it is designed. Most of these choices are bundled into the output transforms that map the working color space to a display. The architecture of the “rendering transform” interacts directly with the design of the look, and it can limit the ability of colorists to reach their creative intent.
Filmmakers have historically had mixed feelings about the default ACES 1 rendering transform. Some found that it closely matched their intent and workflow; others experienced it as a constraint that made it harder to fully realize their desired aesthetic.
To address these concerns, the ACES 2 Output Transform was developed. It modernizes the rendering architecture, uses a more advanced color‑appearance model (CAM), and provides a better perceptual match between different displays, including both HDR and SDR. In other words, it is a more flexible and contemporary baseline.
However, even ACES 2 is intentionally just that: a baseline. It will not always match the specific creative intent of every production. For this reason, we strongly endorse and fully support the use of custom looks implemented as Look Modification Transforms (LMTs).
I have a LUT that I love, can I still use it?
Yes. You can bring your existing LUT into an ACES pipeline using the Hybrid Look approach (see Achieving Your Look: Utilizing AMF in an ACES Workflow). This involves "sandwiching" your LUT with the Inverse ACES Output Transform to match its visual appearance within an ACES LMT. While this can be done by constructing this “sandwich” pipeline in 3rd party tools, the LMT Maker tool (coming 2026) will automate this conversion. As long as you know the input and output color spaces of your LUT, it's a single click to export a CLF.
That said, it's worth considering whether to retrofit your existing LUT vs. building a new look from scratch (e.g. "Native Look") directly in ACES. Building natively is the simpler path for most productions and requires less color science expertise, while retrofitting is ideal when there's an established look or LUT you need to match.
Do I have to grade in ACEScct?
No, you are not strictly forced to grade in ACEScct, though it is the most common and practical workspace for color grading within an ACES pipeline.
ACEScct is a log-like working space (using AP1 color primaries) specifically tailored to feel familiar to colorists used to traditional log grading workflows, making it comfortable to shape contrast and color. However, you have other options depending on your approach:
- ACEScg: If you prefer working in a linear, wide-gamut space, you can use ACEScg. This is well-suited for physically based "photographic" corrections, as well as White-Balance and Tint, because adjustments behave in a predictable, energy-conserving way.
- Non-ACES Working Spaces (Hybrid Look): If you are using a pre-existing non-ACES LUT (like a specific Show LUT designed for LogC or S-Log3), the Hybrid Look approach will temporarily transform the image out of the ACES working space and into your LUT's native input space before transforming it back, to combine into an LMT. This is why it’s sometimes referred to as an LMT “sandwich”.
- Also, modern color correctors now include “color space aware” controls, so the controls will feel the same no matter which working space you are in.
What if I already have an “LMT-like” LUT that applies in ACEScct?
You can easily incorporate this type of LUT into the AMF workflow. Simply add your .cube file into your color grading node tree or stack (depending on software like DaVinci Resolve or Baselight) and apply it while working in the ACEScct working space.
When you export your AMF from the software, it will automatically convert your .cube file into a proper, high-precision .CLF (Common LUT Format) file to act as your LMT. Crucially, the export process mathematically maps this new .CLF so that it is properly applied in ACES2065-1 (AP0 Linear) color space.
This allows you to work comfortably in ACEScct, while your exported AMF and associated .CLF become a fully standardized, trackable "color recipe" for the rest of the pipeline.
What if my tool doesn’t support AMF?
For tools that don't yet support AMF natively, such as on-set monitors or in-camera applications, you can bake out a LUT for that specific use case. This means your AMF-tracked color recipe remains the source of truth, while the baked LUT serves as a practical workaround for that particular setup.
On the VFX side, Netflix is actively working with third-party tools (including OCIO-based software like Nuke and others) to expand AMF support. Check with your Netflix representative for the latest on tool compatibility.
What’s new with ACES 2? Should I use it?
ACES 2 brings meaningful improvements worth taking advantage of, including a new, color-appearance based rendering (the “base look”), and better perceptual matching across HDR and SDR displays. The feedback from colorists and DPs has been positive on shows using ACES 2. For full details, see: What's New In ACES 2
AMF is compatible with both ACES 1 or ACES 2, and the version is tracked within the AMF itself.
How does AMF work with our own tools like Content Hub MPS?
AMFs can be uploaded into Netflix's Content Hub, where they are linked with your camera footage as a full record of color for each clip. For more detail on MPS-specific implementation, see : Technical Specifications for Image and Sound Processing in MPS (Media Production Suite)
Other Resources:
- Official ACES documentation:
- Netflix MPS documentation: