Posts by Steve Tobenkin
ACES Metadata File Explained — What It Is and Why Everyone Should Be Using It
Thanks to Netflix Production Technology Resources for their insightful video about how ACES and the ACES Metadata File (AMF) help provide color consistency and simplicity from Day 1 to the Final Grade. Check it out here.
Read MoreACES at Open Source Days 2026 – Call for Proposal
As part of the Academy Software Foundation, ACES will be participating in activities at Open Source Days 2026, co-located with SIGGRAPH. This is taking place in Los Angeles this year. Submissions for presentations about ACES use or other topics of interest are now open and we encourage you to submit! Check back for additional information.…
Read More“AMERICAN SWEATSHOP” WITH JÖRG WIDMER
American Sweatshop, directed by Uta Briesewitz and shot by cinematographer Jörg Widmer, follows Daisy (Lili Reinhart), a digital content moderator whose job is to decide which images disappear and which persist online. It was shot with the RED V-RAPTOR VV and V-RAPTOR [X] systems and completed within the ACES (Academy Color Encoding System) framework, preserving…
Read MoreAcademy at Open Source Days/SIGGRAPH 2025
Open Source Days & SIGGRAPH 2025 Recap ACES took center stage at the Academy Software Foundation (ASWF) Open Source Days during SIGGRAPH 2025, showcasing exciting developments, new collaborations, and insights from industry leaders. Please enjoy these videos, photos and overviews of event. Keynote: State of the Foundation Open Source Days kicked off on Sunday, August…
Read MoreACES Enters a New Chapter of Open Collaboration
The Academy of Motion Picture Arts and Sciences is launching the next chapter of ACES, with expanded community development supported through the Academy Software Foundation (ASWF). As announced today, ACES will begin its next phase as an incubated project under the ASWF. This move reflects the Academy’s ongoing commitment to evolving ACES as an open, widely adopted standard…
Read MoreACES Panel at Cine Gear 2025
Join us at Cine Gear 2025 to hear how ACES can improve your color management for all types of productions. Learn about the ACES 2.0 rollout into hardware and software products that you may already be using! This is a fantastic group that will simplify the case for ACES, promising an insightful and enjoyable session…
Read MoreGetting your VFX head around ACES 2.0
An in-depth Q&A with ILM’s Alex Fry from befores & afters visual effects and animation online magazine, as he as he touches on how ACES 2.0 was developed and how he used a pre-release version on the recent animated feature film, Transformers One. “It’s a different world now. Everyone’s phone is HDR. Most people’s TVs have HDR, even…
Read MoreExciting News: ACES 2.0 Release for End-Users
ACES 2.0 Released for End-Users The highly anticipated release of ACES 2.0 for end-users is here, and ACES support from third-party hardware and software manufacturers is now available in the market. Support for ACES 2.0 has been integrated into SGO’s products, including Mistika Ultima, Mistika Boutique, and Mistika VR. Additionally, Pomfort has announced support in…
Read MoreThe Academy at NAB 2025
The Academy with be attending NAB 2025 and participating at a number of thought-provoking and fun events. We hope to see you there! Sunday April 6th Colorist Mixer – ACES is an official sponsor7:00 pm – 11:00 pmCarlos n Charlies (the Flamingo Hotel)(fee to attend) More information coming soon! Monday April 7thFireside Chat – Industry Leaders Talk Technology, Creativity and…
Read MoreCuarón, Lubezki and Delbonnel Apple TV+ series “Disclaimer” uses ACES Pipeline.
“Disclaimer,” the seven-part Apple TV+ drama directed by Alfonso Cuarón and shot by cinematographers Emmanuel Lubezki, ASC, AMC (‘Chivo’) and Bruno Delbonnel, ASC, AFC, recently used ACES to manage their color pipeline and maintain the uniqueness or ‘signature’ of each DoP’s look throughout the series. Colorist Peter Doyle describes to Televisual how they accomplished the pipeline. It was a fully…
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