News

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…

Thanks to ACES Product Partner FilmLight and their many colorists who are using ACES! Some notable ACES highlights from the most recent FilmLight newsletter: https://mailchi.mp/filmlight/ypgvly0u9f-914361?e=ad5ce7886b Andrea Chlebak Senior Colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm) Andrea has worked on upwards of 19 ACES projects from big budget movies like “Chappie” and “Elysium” to TV pilots,…

Check out this article on the Bi-Coastal ACES workflow on the film “Little.” The DI and the film conform happened concurrently, with colorist Alastor Arnold and cinematographer) Greg Gardiner working together daily. “We had a full ACES pipeline, with high dynamic range and high bit rate, which both Greg and I liked,” Arnold says. “The…

Thanks to Post Perspective, Randi Altman and writer Debra Kaufman for this profile of ACES user, Sr. Colorist Andreas Brueckl. Andreas is currently based in India and his story highlights that ACES adoption is a global phenomenon! Worth another look…thanks to post perspective for featuring this article in their A Look Back at the Best of…

Thanks to VFX Voice for discussing Dumbo’s use of ACES. “Production utilized the ACES [Academy Color Encoding Specification] pipeline, which incorporated a film-emulation show LUT favored by cinematographer Davis. “The whole delivery process from the original pulls, to Pinewood Digital [for dailies], editorial and back to DI is working very well,” reports Stammers. “There are…