Posts by Steve Tobenkin
Exciting 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…
Read More“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…
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