Posts by Steve Tobenkin
“Find Me Falling” on Netflix: A love story remotely finished in Mistika Boutique in ACES
Recently premiered on Netflix, ‘Find Me Falling’ is a romantic comedy set against the stunning backdrop of Cyprus. To capture its enchanting visuals, Full Moon Productions relied on Mistika Boutique for color grading, VFX turnaround, and finishing, bringing the film’s magical colors to life. Read the whole story here. Thanks to ACES Product Partner SGO and Cyprus-based Full Moon Productions…
Read MoreFinding the Perfect Finish for ‘Furiosa: A Mad Max Saga’
Thanks to Digital Media World for this coverage of Colourist Eric Whipp working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell the story of the new Mad Max film, Furiosa, in ACES! https://www.digitalmediaworld.tv/post/finding-the-perfect-finish-for-furiosa-a-mad-max-saga “George likes the term ‘rolling DI’, implying a tight integration between departments so…
Read MoreIMAGO Panel: ACES 2.0 at Euro Cine Expo
Friday June 28 at 8:45am PT (17:45 Munich Time) Roberto Schaefer, ASC – AIC will moderate a panel at the ECE 2024 Symposium at Euro Cine Expo with Industry experts who will discuss innovations in ACES 2.0 and the ACES system. Panelists will include: Miga Bär • Workflow consultant and NSC Associate Member Francesco Luigi Giardiello • Production…
Read MoreHBO original series 30 Coins Season 2 finishes in ACES
Spanish post house La Bestia Produce relied upon an ACES color managed pipeline which provided a fresh look and eliminated the need for LUTs, facilitating more creative freedom. You can read more here. One of the main benefits of the transition to an ACES colorspace was that the colorists were able to work in the…
Read MoreJoin us at the ACES Lounge – Cine Gear Expo LA June 7-8, 2024!
ACES is excited to be at Cine Gear Expo in LA June 7-8, 2024! Please stop by our “ACES Lounge” on the Warner Bros. backlot: Booth L622. We’ll bring you up to speed on the details of the recent Developer Release of ACES 2.0 and how it will be integrated into products you use on…
Read MoreColorist Mixer at NAB 2024
ACES is proud to be a returning sponsor of the Colorist Mixer at NAB. This year’s get together is schedule for Sunday 4/14/24 from 7p-11p PT. We hope to see you there! Registration details here.
Read MoreLet’s Talk ACES at NAB 2024!
Don’t miss this amazing panel at NAB on Tuesday 4/16 at 4:15pm! It promises to be a lively conversation with insight and tips on creative tools, and processes that can simplify and improve your productions, whether you’re working on indie shows, television/streaming or tentpole block busters. The ACES Team will be in attendance and…
Read MoreBBC Crime Series ‘Vigil’, finished in ACES
Blazing Griffin Post’s team in Glasgow returned for post production of ‘Vigil’ season 2, delivering all aspects of picture finishing in 4K using ACES, with both SDR and HDR deliverables. Read about it here. Thanks Griffin Post and Senior Colourist Colin Brown, Director Andy De Emonny and Cinematographer Matt Wicks to Digital for the work and Media World…
Read MoreACES at HPA Tech Retreat 2024
The ACES team will be at HPA this year, with multiple goals, including a presentation of a Case Study:“Color Appearance Models and the Future of Color Management” which highlights the ACES 2.0 release’s use of Color Appearance Models to help accomplish the goal of making the ACES rendering transform invertible, which was a top user…
Read MoreEd Rutherford BSC uses ACES on The Eternal Daughter
Thanks to cinematographer, Ed Rutherford BSC and and Ron Prince, Editor of Cinematography World for their discussion of ACES use on “The Eternal Daughter”. “Employing LUTs that I created with Jodie, we reviewed the 2K and 4K scans of the S16mm and 35mm tests, and I have to say the 4K 16-bit DPX scans of…
Read More