News

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

Another mention of ACES on Downton Abbey. Pablo Garcia Soriano Head of Color at Mission gave us a preview of this at Cine Gear this year. The film had an ACES color workflow. Explains, Pablo Garcia Soriano, Head of Color at Mission, “The use of ACES was proposed from the very early stages of the workflow discussions.…

ACES in Mexico! ASC International Master Class session Mexico City, October 2019 Continuing with the mission of educating the next generations of film technicians, the ASC, is educating film students around the globe, and including ACES in the curriculum! Bill Bennett, ASC with Theo Van De Sande, ASC were teaching camera handling and lighting while associate…

Here’s an article by Filmmaker magazine with a mention of the workflow and use of ACES and Dolby Vision.Thanks to Filmmaker and author Matt Mulcahey! Enjoy! UPDATE! Here’s another article in Posts Magazine covering Mindhunter, Season Two, that also discusses workflows and ACES. The show’s second season developed a workflow that included HDR monitoring on-set. …

Thanks to Frame.io and author Ben Bailey for this great blog post: “Why Every Editor, Colorist, and VFX Artist Needs to Understand ACES” https://blog.frame.io/2019/09/09/aces/?utm_medium=blog&utm_source=facebook&utm_campaign=aces&fbclid=IwAR3X5ZoY-efpmywJzQhA_jsauCk0b6Gl6l92Ocdgx8s-J9NDaOSaEFayy9E Please feel free to leave comments and discussion here!

High quality “cinematic” test materials for industry-wide evaluation of next-generation cinema techniques is now available through the Academy Science and Technology Council’s Next Generation Cinema Technology (NGCT) program. The Council initiated NGCT to advance cinema technology through collaborative research. This footage is suitable for high-frame-rate, high-dynamic-range work and other uses, as well as for ACES…

In case you missed the news…happy to report that the Sony VENICE has qualified for the ACES logo and joins other Sony cameras, the F65, F55 and F5 as part of the ACES logo program! You can find additional info here: https://www.sony.com/en_us/SCA/company-news/press-releases/sony-electronics/2019/sony-s-venice-continues-to-evolve-with-high-frame-rate-up-to-90-frames-per-second-at-6K.html and here on Sony’s ACES ‘landing page’: https://pro.sony/ue_US/technology/aces-workflow

I just finished a 2-part article on MixingLight.com 5 about our use of ACES on indie horror film HOAX. Pt. 1 covers our ACES decision process and an overview of the film and our workflow. Pt. 2, available next week, goes into more detail about our AfterEffects / OCIO VFX pipeline, my approach to ACES grading in Resolve, and…