Frame.io blog post: “Why Every Editor, Colorist, and VFX Artist Needs to Understand ACES”
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!
Read MoreNGCT – High Quality Cinematic Test Material Available
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…
Read MoreACES at IBC 2019 – Updated!
We’ve got an amazing ACES line up at IBC this year. We’ll touch on everything from on-set to archive. Join us or email me (info below) to set a private meeting with the ACES team. ——- Schedule ——- Friday 9/13 – 1:00 pm to 5:00 pm cestWorkshop on preserving movies with IMFThe IMF UG invites…
Read MoreCongrats to ACES Product Partner Sony for earning the ACES logo for its VENICE camera
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
Read MoreCASE STUDY: “ACES in Action” on Indie Horror Film HOAX – MixingLight.com
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…
Read MoreACES in Mongolia!
ACES really knows no borders! ACES Project Vice-chair Joachim Zell was recently in Mongolia for the “Hollywood in Mongolia” Film Festival. The festival is aimed at learning experience from world-class experts, initiating collaboration between Mongolian and Hollywood artists and organizing capacity building programs for national filmmakers. ACES concepts were shared and of course local customs…
Read MoreThanks to ACES Product Partner FilmLight and their colorists who are using ACES!
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,…
Read MoreACES Birds of a Feather at SIGGRAPH 2019 – Presentation and video links added!
We’re planning an ACES Birds of a Feather meeting at Siggraph 2019 as part of the Open Source BoF Track being organized by the Academy Software Foundation. Session Time Tuesday, 30 July 2019 2pm – 3pmLocation Diamond Ballroom 7-10, JW Marriott Details on the program can be found on the SIGGRAPH site: https://s2019.siggraph.org/presentation/?id=bof_137&sess=sess318 The ACES presentation is part of a…
Read MoreJoin us at Cine Gear 2019 – We’ve got some fantastic speakers!
We’ve got an “All-Star” line up of experienced ACES users who will talk about their experience on ACES shows and present on topics of interest to the ACES community. This is a casual and intimate event so you’ll be able to ask questions and meet the speakers, other ACES users as well as ACES Leadership…
Read MoreFotoKem 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…
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