ProVideo Coalition Features ACES in Color Management Article/Video
Have a look at this terrific article from ProVideo Coalition: Color Management Part 12: Introducing ACES Link: https://www.provideocoalition.com/color-management-part-12-introducing-aces/ Thanks to Chris Zwar and ProVideo Coalition for this profile.
Read MoreTransferring Looks with ACES and AMF (from Pomfort)
A must read article from ACES Product Partner Pomfort that offers a good history and use case for AMF. Two quotes from the blog, but it’s only a 12 minute read, so click through! https://pomfort.com/article/transferring-looks-with-aces-and-amf/ “This article introduces the ideas around the ACES Metadata Format and illustrates what makes it different from other “look formats”.…
Read MoreUniversal Announces It Will Use and Deliver Its Productions With the Latest Version of ACES
Universal Pictures made the announcement Thursday the HPA Tech Retreat in Palm Springs, that it will begin to use and deliver its productions using the latest version 1.3 of the Academy Color Encoding System (ACES). As reported by Carolyn Giardina in The Hollywood Reporter, Universal plans to begin using ACES 1.3 in the fourth quarter…
Read MoreACES Community Talks Color at 2022 HPA Tech Retreat
The 2022 HPA Tech Retreat 2//22 – 2/24, will feature lots of conversation about color and ACES! In addition to our ACES Roundup presentation with some important announcements, there will be contributions from other community members about ACES and color best practices in general. Check out the main schedule: https://hpaonline.com/event/2022-hpa-tech-retreat/… If you’ve already registered (it’s…
Read MoreHappy Holidays to the ACES Community!
As this year winds to a close, we wanted to thank everyone for their support of ACES this year. So many of you used ACES in your productions, contributed to our Virtual Working Groups or TACs, posted questions or helped others with answers. We’ve build a vibrant community and your participation is at the center…
Read MoreASC’s StEM2 Film for Testing & Calibration uses ACES!
“The Mission,” a professionally produced short film for the StEM2 initiative, emulates a high-end movie is designed to test exhibition and streaming systems, displays, and image-processing tools used in production and post. StEM2 utilized the Academy Color Encoding System (ACES) throughout the entire pipeline. More information on tvtechnology.com and at theasc.com!
Read MoreBrazilian DP Julio Costantini discusses the approach and technology utilized on his latest film “Confessions of an Invisible Girl.”
Thanks to ACES Product Partner ARRI for this story about Brazilian DP Julio Costantini and his work on “Confessions of an Invisible Girl” for Netflix. Q. Employing the latest industry techniques is really becoming the norm in Brazil. For example, it’s exciting to see the AMPAS Academy Color Encoding System (ACES) making its way onto…
Read MoreACES Gamut Mapping Group Work Featured in CIC Keynote
Congrats to Carol Payne, Matthias Scharfenberg and Nick Shaw, on today’s Keynote “Scene-referred Gamut Compression in ACES” at the prestigious CIC conference. They’re highlighting the elegant work of the ACES Gamut Mapping working group that was included in ACES 1.3 For more info: CIC https://aces.mp/cic2021 ACES 1.3: https://aces.mp/ACES1-3
Read MoreACES Presentation in Korea
ACES Vice chair Joachim Zell recently introduced ACES to The Korean Broadcasting Engineers and Technicians Association. Thanks to Hyun Taek Kim of Louis-Pictures for the request and helping make this happen. We are happy to entertain requests from other organizations globally for support in introducing or explaining ACES to your members. Please reach out to…
Read MoreACES Product Partner MTI uses ACES on remote workflows
In the latest Product Guide in ICG Magazine, MTI CEO Larry Chernoff describes how they set up their iPads for remote viewing using ACES color values Article starts on page 78 and quote from Larry is on page 99:
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