Live 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,…
Read MoreMeet the Mentor: Walter Arrighetti
Q. Walter, tell us about your diverse background and how that informs your approach to ACES? A. I started my career in Technicolor, engineering the Post-Production Technology for many high-profile titles co-processed by the company’s multiple sites. That was during the transition era of film being gradually replaced by digital and cloud-based workflows, thus being…
Read MoreMeet the Mentor: Chris Brejon, Illumination Mac Guff
Q. Chris, you’ve been in VFX for over a decade…talk about your background and work (maybe mention where you’re based?) A. I mostly come from an artistic background studying traditional painting and drawing. When I graduated, my purpose has always been to work on tent pole movies and travel around the world. After more than…
Read MoreACES Product Partner, Colorfront Develops Near Real-time ACES Pipeline for HDR Production
This article showcases Colorfront’s new Parametric LMT augmentation for ACES workflows. This was recently used on the HPA 2020 Lost Lederhosen demonstration project. This enhancement to a basic ACES workflow supports the design of custom looks from Colorfront’s large looks library. In addition, the Parametric LMT solves the current problems associated with extreme camera colors…
Read MoreMeet the Mentor: Nick Shaw, Antler Post
Q. What is your background? A. I was working as an in-house editor at E.S. Video in Surrey U.K., and they became the main reseller for the Media 100 NLE in the region. I was using 3-machine Betacam SP suites at the time, but was very interested in the new technology. I moved into a…
Read MoreACES 1.2 now available
ACES Community Members, Today we are happy to announce the release of ACES 1.2: it includes a series of new features and enhancements that fulfill the ACES 1.0 vision and sets the stage for ACES 2.0 development. Key new features and enhancements include: A new specification for the ACES Metadata File (AMF) that replaces the…
Read MoreSeason 2 of Netflix’s series “Sex Education” goes ACES
Thanks to DIT Shibbir Ahmed for highlighting this great write-up on season 2 of “Sex Education”, including how he helped guide the show through its transition to ACES. Thanks to cinematographer Jamie Cairney and to The Guild of Television Camera Professionals (www.gtc.tv) for the coverage! You can download a PDF here: sex_ed_1.pdf
Read MoreACES at HPA 2020
Lots of ACES news and discussion planned for HPA this year.Rancho Mirage, CaliforniaFebruary 18th – 20th, 2020 Tuesday’s Super Session will feature an amazing workflow demo with multiple cameras, color correctors, daily systems, cloud workflows and all color managed by ACES! Here’s the sizzle reel for the Super Session: https://vimeo.com/387515173 18 We’ll also have an ACES presentation…
Read MoreNew VFX Mentions of ACES Use in 2019
There has been a lot of VFX use of ACES in 2019. Fast & Furious Presents: Hobbs & Shaw (2019) Spider-Man: Far From Home (2019) Captain Marvel (2019) Dumbo (2019) Us (2019) The Lego Movie 2: The Second Part (2019) Avengers: Endgame (2019) Downton Abbey (2019)
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