FotoKem uses ACES Workflow on Universal Pictures Film “Little”
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 film has a punchy, crisp chromatic look, but it’s not too contemporary in style or hyper-pushed. It’s clean and naturalistic with an extra chroma punch.”*
Arnold’s first pass was for the theatrical grade and the second for the HDR10 grade. “What I like about ACES is the simplicity of transforming to different color spaces and working environments. And the HDR grade was a quicker process,” he says. “HDR is increasingly part of our deliverables, and we’re seeing a lot more ACES workflows lately, including work on trailers.”
Lots more info in the full article! Read it here:
Bi-Coastal ACES Workflow for Little
Once principal photography began in Atlanta last summer for Universal Pictures’ and Legendary Pictures’ fantasy comedy Little the post-production workflow also began. The bi-coastal effort by FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies all the way through a full Academy Color Encoding System finish.
https://www.digitalcinemareport.com/article/bi-coastal-aces-workflow-little
Thanks to Editor & Publisher Nick Dager for covering this in Digital Cinema Report.