Welcome disguise, our latest ACES Product Partner
We’re welcoming disguise to our ACES community! They’ve joined the ACES Product Partner program and are building ACES support into their Designer software. Here’s their announcement from Facebook about their free ebook on how they manage color using ACES: Have you checked out our latest e-book all about transforming your productions with industry-standard colour control?…
Read MoreDIT Gastone Ferrante about Guy Ritchie’s “Wrath of Man”
Thanks to DIT Gastone Ferrante and ACES product partner Pomfort for their quick shout out to ACES use on “Wrath of Man” Livegrade allowed me to apply the custom transforms I needed to properly match the ACES pipeline Peter Doyle, our Colorist, would have used in Baselight during the DI process. Silverstack Lab made metadata…
Read MoreLinear Light, Gamma, and ACES
Thanks to Stu Maschwitz for this long and in-depth bog-post of ACES and related topics. https://prolost.com/blog/aces ACES is not perfect for every use-case, but it is purpose-built for film and video work. Today, if you choose not to use ACES, it’s probably either because you haven’t tried it yet, or you already have your own…
Read MoreACES 1.3 is Available!
We are happy to announce the release of ACES 1.3.
It includes new features and enhancements that fulfill the ACES 1.0 vision and sets the stage for ACES 2.0 development.
Read MoreNew ACES training from No Film School
Thanks to Colorist Cullen Kelly and No Film School for creating this three part series on understanding ACES: https://nofilmschool.com/your-guide-understanding-aces-part-1 https://nofilmschool.com/your-guide-understanding-aces-part-2 https://nofilmschool.com/your-guide-understanding-aces-part-3
Read More“Tom & Jerry” goes ACES
Warner Bros recently released the feature film, Tom & Jerry and Colorist John Daro details the VFX and color pipeline for the project. The colour pipeline for the theatrical grade was ACES AP0 – ACEScct (grading space) – Show LMT -> P3D65. ACES 1.1 was used for the P3D65 ODT. https://www.filmlight.ltd.uk/customers/case-studies/tomandjerry.php We also archived an…
Read MoreFilmmaker Nick Driftwood uses ACES on his film “A Colour Story”
A great example of how ACES helps integrate different cameras into a common color space, and how products from multiple ACES Product Partners – Panasonic, ARRI, and Color Trix (Color Finale Pro) can work together to help filmmakers. https://www.panasonic.com/global/consumer/lumix/ambassadors/stories/nick-driftwood.html “ACES…manages the entire colour process in filmmaking, from image capture, editing, VFX, and presentation, to archiving,…
Read MoreNew Video: Color Management Fundamentals & ACES Workflows Lesson
Thanks to ACES Product Partner Foundry for creating this video on Color Management Fundamentals. This is the first in a four part series exploring color and how to use ACES in their product Nuke. The video presents an introduction to color science that should be of interest to everyone in the production and post production…
Read MoreACES at HPA Tech Retreat 2021
This was a great session and garnered lots of press mentions of ACES…here’s a couple: https://postperspective.com/2021-hpa-tech-retreat-content-in-the-cloud/?mc_cid “I set up an ACES workflow using Resolve in AWS cloud accessed via Teradici from my MacBook Pro. The virtual machine was loaded with Nvidia GPUs and CPU power, and I was able to convert 12K frames into 4K…
Read MoreColor Management Requirements for NextGen Production/Post
Join our Lunch Roundtable for a lively discussion…let’s get the relevant issues out on the table! Tuesday, March 23, 2021 1:00 pm Los Angeles time With the upcoming releases of ACES 1.3 and 2.0 now scheduled, the ACES team is beginning a longer-term planning process. Indies worldwide have embraced ACES and studios and sophisticated users…
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