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From ZDNet http://www.zdnet.com/article/digitization-of-the-analog-film-process/ Digitizing the analog film process: Why is this taking so long? Digital video is a major driver of storage growth, but it has yet to fully replace film – an analog medium – in many feature films. The holdup? We’re replacing human expertise with metadata – which means defining the digital process…
Read Morehttp://www1.oscars.org/email/aces/161104/index.html
Read MoreRe-post courtesy of Studiodaily.com, By Beth Marchanthttp://www.studiodaily.com/2016/08/7-reasons-why-aces-color-science-is-changing-the-grade
Read MoreICG magazine October 2016 WIF.pdf (1.1 MB) Re-post courtesy of ICG Magazine October 2016, By Debra Kaufman www.icgmagazine.com
Read MoreICG – Baggelaar – Refraction.pdf 1 (477.7 KB) Re-post courtesy of ICG Magazine October 2016, www.icgmagazine.com
Read MoreBy:Debra KaufmanPosted:Thursday, May 19, 2016 – 17:15 Fixafilm president Wojtek Janio, his Warsaw post production company is the first in Poland – and possibly in Europe – to adopt the ACES workflow, as well as post-produce everything in 4K. “When you combine those two you get a future-proof service,” he says. “Working in ACES simply…
Read MorePosted:Thursday, May 19, 2016 – 17:15 ACES was a meaningful part of the discussion at this year’s NAB 2016, held recently in Las Vegas. As HDR, wide color gamut and other new technologies go mainstream, the need for ACES as a unifying and enabling standard has never been greater. This was in evidence by key…
Read MorePosted:Thursday, May 19, 2016 – 17:15 The OpenColorIO Board of Governors has accepted the ACES 1.0.1 configuration into the official config repository. This marks the official public release of the ACES 1.0.1 OCIO config. It allows companies and products using OpenColorIO to integrate the ACES 1.0.1 config with the knowledge that it will be stable…
Read MoreCinematographer Brad Lipson initiates an ACES workflow for MTV’s popular new “Atlanta shot” series, Finding Carter ICG Magazine – October 2015 http://viewer.zmags.com/publication/851fc72e#/851fc72e/70
Read Morehttp://www.technicolor.com/en/who-we-are/press-news-center/news/technicolor-utilizes-aces-sonys-f65 Director of photography Daryn Okada relied on Technicolor’s DP Lights real-time color correction system to monitor the camera’s signal on set
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