Thanks to cinematographer, Ed Rutherford BSC and and Ron Prince, Editor of Cinematography World for their discussion of ACES use on “The Eternal Daughter”.
“Employing LUTs that I created with Jodie, we reviewed the 2K and 4K scans of the S16mm and 35mm tests, and I have to say the 4K 16-bit DPX scans of the S16mm footage looked fantastic. You could feel the grain structure in the filmed image, and the higher-resolution was such that I knew I would be able to dig into shadow details in the lower-light scenes if need-be during the final grade. The nature of the arrangement between the different parties involved, meant it was both logistically and financially-viable to get all of the rushes scanned to 4K.
“Also, it was agreed early-on to adopt ACES (Academy Color Encoding System) in the post production workflow. The colour conformity it provides between different departments assured there would always be clarity when it came to aesthetic discussions throughout the process. As we were going to be working in North Wales, all of this gave me a great deal of confidence and reassurance during the shoot.”
Read the full article here: https://www.cinematography.world/ed-rutherford-the-eternal-daughter/