News

Thanks to ACES Product Partner, Sony for this story about “The Life Ahead” and their use of ACES. Getting the look, on set and in post The production’s on-screen look is the direct result of a close creative collaboration between Angus, colourist Paolo Verrucci and digital workflow supervisor Francesco Giardiello. “The project was worked on…

Thanks to Camerimage and panelists for presenting this session about ACES workflow for “His Dark Materials” SE2. This panel session explores the ACES workflow from pre-production through grade for the much-loved BBC and HBO fantasy series, His Dark Materials, Season 2 shot 6K Full Frame on the Sony VENICE with Zeiss Supreme Lenses for a…

Thanks to ACES Product Partner, SGO for highlighting this recent use of ACES on the streaming show “Historias Lamentables”.

Thanks to Stash Media for highlighting the Blue Spill team’s use of ACES in the title design for HBO’s new show. Another example of ACES use beyond motion pictures… Full article here “We worked on the project over a seven month period delivering, alongside the title, 48 sequences across the four episodes. Our team of…

Thanks to AbelCine and author Geoff Smith for this thoughtful blog on ACES. We appreciate your support and look forward to helping educate the community and our mutual professional communities on “how to do ACES!” https://www.abelcine.com/articles/blog-and-knowledge/tutorials-and-guides/aces-where-are-we-now Now that ACES 1.2 is out…let’s talk about an update!! 🙂

It’s getting easier to use OCIO and ACES together with new developments in OCIO v2 announced this week. Thanks to the OCIO team! Version 2 functionality includes a new GPU renderer, native implementation of ACES (Academy Color Encoding System), an improved user experience, and processing improvements. The developers wanted to make sure that the new…

Fun read! Colombian production company, Mestiza Films uses ACES to restore a 25 year old video from 35mm. + Technical mattersThe process was carried out using the ACES (Academy Color Encoding System) color space since the material curve was logarithmic. This allowed us to make a very good transformation to the curves and color spaces…

Thanks to ACES Product Partner Panasonic and author Bob Matsumoto for highlighting this show and its use of ACES in post. ACES call out: “For color management, (colorist Marco) Cordero used ACES (Academy Color Encoding System), using P3-D65 ST 2084 as the Output Display Transform to make it HDR. The Dolby Vision trim tools facilitated…

Thanks to Shoot Online for this ACES mention! Short excerpt: “The Irish love story series was directed by Lenny Abrahamson and Hettie Macdonald, with cinematography by Suzie Lavelle BSC and Kate McCullough. Gary Curran, colorist and company director at Outer Limits, who handled all postproduction, relied on an ACES workflow…” Read the full article here:…