Andy Maltz, Managing Director, Science and Technology Council, Academy of Motion Picture Arts and Sciences, presents an overview including ‘what is ACES’, ‘why was it developed’ and ‘how can you benefit’.

Screen Gems President of Physical Production Glenn Gainor describes why Screen Gems has integrated ACES into the on-set, vfx, post and archiving workflow of all their motion picture productions. Editor Shelly Westerman describes the benefits and ease of using ACES on “The Wedding Ringer” and “About Last Night”. Alex Forsythe, Staff Technical Lead on the…

Sheldon Stopsack, VFX Supervisor at MPC details the company’s use of pre-release versions and the production-ready ACES 1.0. He explains the benefits and tells why MPC is using ACES company-wide to manage it’s assets, even on non-ACES shows.

Alex Fry, compositing & colour pipeline supervisor details the benefits of using ACES and how he used a pre-release version of ACES on “The Lego Movie”(tech level: med)

Marie Fetiveau, R&D engineer and pipeline technical director, Rodeo FX talks about how effects house Rodeo works with ACES and shares her solution for including Photoshop in a color pipeline managed by ACES.(tech level: med)

Andy Minuth, Lead Colorist, 1000 Volt, Istanbul talks about how ACES allows a colorist to minimize initial color matching and focus on the ‘creative work’.

Michael Whipple, executive director of post production technologies, Sony Pictures Entertainment, talks about the benefits of ACES for studios and producers.

Cinematographer Theo Van de Sande ASC tells how ACES helped him grade a 1.5 hour, dramatically lit period piece in only a couple of days. The film was nominated for an ASC cinematography award, which Theo says, “I never would have gotten without ACES”.