“The Land of Oblivion”, Carlos Vives’ iconic album turns 25 and releases HD video (restored using ACES!)
Fun read! Colombian production company, Mestiza Films uses ACES to restore a 25 year old video from 35mm. + Technical mattersThe process was carried out using the ACES (Academy Color Encoding System) color space since the material curve was logarithmic. This allowed us to make a very good transformation to the curves and color spaces…
Read MoreNetflix docuseries “Cheer” shot on VariCam LTs and EVA1s. Uses ACES for Dolby Vision HDR finish!
Thanks to ACES Product Partner Panasonic and author Bob Matsumoto for highlighting this show and its use of ACES in post. ACES call out: “For color management, (colorist Marco) Cordero used ACES (Academy Color Encoding System), using P3-D65 ST 2084 as the Output Display Transform to make it HDR. The Dolby Vision trim tools facilitated…
Read MoreBBC and Hulu’s “Normal People” Finishes in ACES
Thanks to Shoot Online for this ACES mention! Short excerpt: “The Irish love story series was directed by Lenny Abrahamson and Hettie Macdonald, with cinematography by Suzie Lavelle BSC and Kate McCullough. Gary Curran, colorist and company director at Outer Limits, who handled all postproduction, relied on an ACES workflow…” Read the full article here:…
Read MoreTips & Tricks with senior colourist Andrea Chlebak
Thanks to Tao of Color for highlighting this video from ACES Product Partner FilmLight. This is another in FilmLight’s ‘@Home’ series with Baselight colorists. If you’ve never seen Baselight in action, Andrea gives you a terrific look at its ‘color journey’ feature when setting up a project for ACES vs. a LUT-based workflow. Plus other…
Read MoreACES Product Partner Pomfort and ACES 1.2
ACES Product Partner Pomfort has early stage support for ACES 1.2 as described in this article, and as demonstrated in our recent ACES 1.2 webinar. Please note, this product has not yet earned the ACES logo, but may be of help to you in your on-set workflows and we appreciate Pomfort’s efforts to support ACES…
Read MoreVirtual Roundtable: ACES for TV/Broadcast/OTT
Please join us for a Virtual Roundtable discussion on the topic of “ACES for TV/Broadcast/OTT”. Wednesday, May 20, 2020 10:00 am PDT (GoToMeeting instructions below) We’ve had a request to explore some possible use-cases and basic technical requirements for using ACES in live broadcasts, multi-cam shoots and other situations that were formerly described as “broadcast”…
Read MoreACESCentral.com Gets a Makeover!
Please note: If you have any issues logging in, please try clearing your browser cache. If you’re a ‘regular’ visitor to ACESCentral, you’re probably noticing a big change. We’ve launched this new design based on user requests and hope you find it an enjoyable user experience. The biggest ask we heard from members in the…
Read MoreMeet the Mentor: Pablo Garcia Soriano, Head of Digital Imaging, Mission
Q. Pablo, how did you start your career? A. It’s a bit of a long story…I studied Civil Engineering and Technical Architecture. After finishing my studies, I found out that the real world of construction was not really for me, so I started working as a graphic designer and later as a motion graphics designer. As…
Read MoreLive Webinar: Integrating and Working with ACES 1.2
The newly-released ACES 1.2 finalizes the specs on two major ACES components: the Common LUT Format (CLF) and the ACES Metadata File (AMF). This is great news for both end-users and companies that build ACES into their products. Join us for an overview of the vastly-improved CLF and AMF specs, as well as additional features…
Read MoreCinematographer Bradford Lipson Uses Sony Venice and ACES on “In the Dark” Season 2 for The CW Network
Thanks to writer Jeff Berlin and ACES Product Partner Sony for featuring this great story about cinematographer Bradford Lipson and his work on “In the Dark” Season 2 for The CW Network. Entire article can be found here: https://aces.mp/BPIND2 with an excerpt of some of the ACES info below. Jeff: You’re not shooting for HDR,…
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