Posts by Steve Tobenkin

Sheldon Stopsack, VFX Supervisor at MPC details the company’s use of pre-release versions and the production-ready ACES 1.0. He explains the benefits and tells why MPC is using ACES company-wide to manage it’s assets, even on non-ACES shows.

Alex Fry, compositing & colour pipeline supervisor details the benefits of using ACES and how he used a pre-release version of ACES on “The Lego Movie”(tech level: med)

Marie Fetiveau, R&D engineer and pipeline technical director, Rodeo FX talks about how effects house Rodeo works with ACES and shares her solution for including Photoshop in a color pipeline managed by ACES.(tech level: med)

Andy Minuth, Lead Colorist, 1000 Volt, Istanbul talks about how ACES allows a colorist to minimize initial color matching and focus on the ‘creative work’.

Michael Whipple, executive director of post production technologies, Sony Pictures Entertainment, talks about the benefits of ACES for studios and producers.

Cinematographer Theo Van de Sande ASC tells how ACES helped him grade a 1.5 hour, dramatically lit period piece in only a couple of days. The film was nominated for an ASC cinematography award, which Theo says, “I never would have gotten without ACES”.

Cinematographer and Digital Cinema Society founder James Mathers interviews Andy Maltz, Managing Director, Science and Technology Council, Academy of Motion Picture Arts and Sciences about the Technology Council’s varied efforts to help the industry keep up with cinema technology, including the new Academy Color Encoding System (ACES).

Ray Feeney, four-time Academy Award® winner for Scientific and Engineering Achievement, President and founder of RFX Inc. and ACES Project Committee Co-chair gives an overview of ACES, with emphasis on VFX.

Find out more about the Academy Color Encoding System: http://www.oscars.org/ACES