News

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:…

Thanks to Tao of Color for highlighting this video from ACES Product Partner FilmLight. This is another in FilmLight’s ‘@Home’ series with Baselight colorists. If you’ve never seen Baselight in action, Andrea gives you a terrific look at its ‘color journey’ feature when setting up a project for ACES vs. a LUT-based workflow. Plus other…

ACES Product Partner Pomfort has early stage support for ACES 1.2 as described in this article, and as demonstrated in our recent ACES 1.2 webinar. Please note, this product has not yet earned the ACES logo, but may be of help to you in your on-set workflows and we appreciate Pomfort’s efforts to support ACES…

Please note: If you have any issues logging in, please try clearing your browser cache. If you’re a ‘regular’ visitor to ACESCentral, you’re probably noticing a big change. We’ve launched this new design based on user requests and hope you find it an enjoyable user experience. The biggest ask we heard from members in the…

Thanks to writer Jeff Berlin and ACES Product Partner Sony for featuring this great story about cinematographer Bradford Lipson and his work on “In the Dark” Season 2 for The CW Network. Entire article can be found here: https://aces.mp/BPIND2 with an excerpt of some of the ACES info below. Jeff: You’re not shooting for HDR,…

This article showcases Colorfront’s new Parametric LMT augmentation for ACES workflows. This was recently used on the HPA 2020 Lost Lederhosen demonstration project. This enhancement to a basic ACES workflow supports the design of custom looks from Colorfront’s large looks library. In addition, the Parametric LMT solves the current problems associated with extreme camera colors…

ACES Community Members, Today we are happy to announce the release of ACES 1.2: it includes a series of new features and enhancements that fulfill the ACES 1.0 vision and sets the stage for ACES 2.0 development. Key new features and enhancements include: A new specification for the ACES Metadata File (AMF) that replaces the…

Thanks to DIT Shibbir Ahmed for highlighting this great write-up on season 2 of “Sex Education”, including how he helped guide the show through its transition to ACES. Thanks to cinematographer Jamie Cairney and to The Guild of Television Camera Professionals (www.gtc.tv) for the coverage! You can download a PDF here: sex_ed_1.pdf

There has been a lot of VFX use of ACES in 2019. Fast & Furious Presents: Hobbs & Shaw (2019) Spider-Man: Far From Home (2019) Captain Marvel (2019) Dumbo (2019) Us (2019) The Lego Movie 2: The Second Part (2019) Avengers: Endgame (2019) Downton Abbey (2019)

Thanks to postPerspective for including two shows that used ACES in their 2019 re-cap issue: https://www.postperspective.com/ppnews-191226.html Efilm’s Natasha Leonnet: Grading Spider-Man: Into the Spider-Verse Colorist Andreas Brueckl on embracing ACES workflow