Thanks to ACES Product Partner FilmLight and their colorists who are using ACES!

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(Steve Tobenkin) #1

Thanks to ACES Product Partner FilmLight and their many colorists who are using ACES! Some notable ACES highlights from the most recent FilmLight newsletter: https://mailchi.mp/filmlight/ypgvly0u9f-914361?e=ad5ce7886b

Andrea Chlebak Senior Colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm) Andrea has worked on upwards of 19 ACES projects from big budget movies like “Chappie” and “Elysium” to TV pilots, short films and commercials.

https://www.filmlight.ltd.uk/training/resources/generalvid/nab2019andrea.php
Andrea talks about ACES for several minutes starting at approx 20:51. “For me, when I set up a project, I’ll always start with ACES if I can….”

Kyle Stroebel Colourist, Refinery, Cape Town
What are your favourite tools in Baselight?:
“…I love the Texture Equaliser, and the simplicity of Base Grade within the ACES workflow.”

Doug Delaney, Technicolor LA
Long interview, about “Captain Marvel”. Doug doesn’t mention ACES specifically, but we know from Michael Maloney (Manager of Image, Color and Lab at Marvel Studios) who presented in the ACES booth at Cine Gear recently, that all recent Marvel Studio movies (including Captain Marvel, Avengers: Endgame, Ant-Man and the Wasp, Avengers: Infinity War, Black Panther and more) used ACES.

Adam Dolniak Head of Picture, Splice, London

What tools from Baselight do you use the most and why?
“I’d say I use a 50/50 mix of Video Grade and Film Grade as my primary on most broadcast jobs; for drama or comedy I prefer to use the colour transform pipeline and work in ACES, with the Film Grade and curves being more prominent.”