News

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…

Thanks to ACES Product Partner The Foundry for this ACES “shout-out” on their blog and for explaining how OCIO fits in to help people use products now even if they haven’t completed their ACES integration. The Foundry is working on its ACES implementation for Nuke; and the ACES and OCIO teams are working collaboratively to tighten the integration between…

Thanks to Digital Production Magazine (based in Germany) for the great article on ACES written by Valentin Struklec. It covers overview of ACES (targeted at CG artists) with specific examples of a Nuke workflow. Available for download in English: DP1901_HDRAces_en_lowres.pdf 390 (1.6 MB) and German: DP1901_040-045_HDR-ACES_Druck_Online_small.pdf 60 (1.2 MB) Shout out to Béla Beier, Managing Director of Digital Production Magazine for…