News
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…
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“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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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…
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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…
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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…
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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…
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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…
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Apple recently held their Scary Fast Apple” event and used ACES in the production and postproduction of the event video. Check out these links to watch the BTS and get additional info: https://www.deccanherald.com/technology/gadgets/did-you-know-apples-scary-fast-keynote-was-entirely-shot-on-iphone-2751618 https://www.avinteractive.com/markets-news/live-events/scary-fast-apple-event-shot-with-blackmagic-iphone-app-16-11-2023/ https://www.apple.com/jo/newsroom/2023/10/behind-the-scenes-at-scary-fast-apples-keynote-event-shot-on-iphone/?videoid=03ed95365e3eca79a7fb37740e84e6d1
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The ACES Team has released details on the projected release of ACES 2.0 to ACES Product Partners and other industry developers. They will integrate the new ACES features and release to end-users later in 2024. See details here !
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Thanks to Chris Zwar and Provideo Coalition for this article and video on ACES support in Adobe’s After Effects: This is an add on to his previous, very detailed article and video introduction to ACES:
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