News

You probably already know that ACES is not just for Hollywood films. It’s being used globally, from Canada, Great Britain, Australia and New Zealand to Poland, Russia, Turkey and dozens of other countries…you can now add UAE to the list! Behind the Scenes, a Dubai-based production house, hosted a masterclass for cinematographers with the support…

The October 2017 issue of ICG Magazine (their Workflow Issue) highlights some recent productions using ACES and discusses the upcoming work on enhancements to the next version of ACES. http://viewer.zmags.com/publication/4c4843a2#/4c4843a2/66 49 Cinematographer and ICG Local 600 President Steven Poster ASC wrote this ‘forward” to the article: “This month’s issue includes an article about one of the…

https://ascmag.com/articles/steven-shaw-asc-close-up-extended-cut Fun profile of ASC Cinematographer Steven Shaw in American Cinematographer magazine! Thanks Steven for the nod to ACES: “I think the hardest part for all cinematographers now is having control and being there in the end of production. Which is why I think ACES, the Academy Color Encoding System, is going to give us…

At a luncheon at the ASC clubhouse to kick off the 2017 ICG Emerging Cinematographers Awards weekend, ACES Project Chair Annie Chang accepted the Canon Award for the Advancement of Digital Technology in Film and Television. Annie noted that she was accepting this on behalf of the ACES community and all those that have helped…

Older article that just popped up on my radar…Henry Braham BSC mentions using ACES on “Legend of Tarzan”. In this regard Braham is equally thankful for Doyle’s brilliant talents. “Peter is great at original thought, and understands the significance of preserving the look and the colour from source. He helped establish an ACES colour pipeline…

Thanks to Filmmaker Magazine for this informative article: ACES call out from Braham: “That dailies grade provides a very good idea of how the film is intended to look at the end, which is important on a film of this scale where there are so many people that need to understand the visual intent. So…

Francesco Panzieri, in-house digital compositor for Marvel Studios gives a shout out to working with ACES on the latest hit: “Spider-Man: Homecoming.” “Along with a great story, Panzieri points to a new colorspace technology created by the Academy of Motion Picture Arts and Sciences called ACES (Academy Color Encoding System) as a vital ingredient to…

Thanks to Digital Cinema Report and Sarah Priestnall for this interview with DIT Francesco Giardello and his work in ACES on the recent feature “Life” directed by Daniel Espinosa and shot by Seamus McGarvey ASC BSC. Read the article here:

This is one big, bold article about one big, bold movie! Thanks to Studio Daily for taking us inside the process!

ACES is a sponsor of the AV Festival in the Netherlands, May 23 – 24, 2017 Look for ACES seminars, ACES use in the Open Set Filmmaking project and more! Stay tuned for additional details. http://avfestival.nl/