FilmLight Goes On-Set and Adapts to ACES

FilmLight Goes On-Set and Adapts to ACES | VFX:
Among the new products is the Baselight ONE grading system, a diskless, 4U tower system with all Baselight creative tools plus a 2TB solid-state internal cache that can increase the processing performance. Slate is a new compact grading control panel designed for use with Baselight and Baselight Editions. It is based on Filmlight´s full Blackboard 2 panel, but in a smaller size and at a lower price.

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Understanding Color Gamuts, Working with ACES in Resolve & More...

Understanding Color Gamuts, Working with ACES in Resolve & More... | Jonny Elwyn - Film Editor:
In this ten minute video tutorial, colorist Jesse Borkowski explains what ACES color space is, how to work in it and how to set up a DaVinci Resolve project to correctly work in that color space with CinemaDNG footage.

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Repost: ACES - what you need to know

Repost: ACES - what you need to know:

The Academy Color Encoding Specification (ACES) is an initiative from the Academy of Motion Picture Arts and Sciences (AMPAS) that delivers a standard, future-proof color space. ACES enables consistent color rendition in pipelines including any combination of ACES compliant cameras, processing and display devices both now and in the future.
This document introduces ACES and details how Pablo supports ACES and integrates into ACES pipelines.

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The ACES Color Space: The Gamut to End All Gamuts

The ACES Color Space: The Gamut to End All Gamuts - International Business Times: A development in the field of color science called ACES will let video professionals work with footage less destructively at the post-production end of the pipeline. This has immediate ramifications for shooters, colorists and visual effects houses and will be accomplished by utilizing a much wider gamut than the current specification for high-definition video.

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The Beauty of ACES with Nucoda Film Master

The Beauty of ACES with Nucoda Film Master:
Kevin Shaw, colorist and ICA trainer, has written a paper that explains the theory and practice of using Nucoda Film Master with the ACES workflow developed by the Science and Technology Council (STC) of the Academy of Motion Picture Arts & Sciences (AMPAS). Even if you are not using a Nucoda Film Master it is interesting reading.

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Light Illusion announces ACES support, AutoAlexicc and more

Light Illusion announces ACES support, AutoAlexicc and more:
Light Illusion announces significant enhancements to its range of colour management systems, both hardware and software, providing advanced colour control capabilities for all colour critical workflows, from film lab operations, through digital intermediate grading, to final delivery and distribution.

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Dolby Professional Reference Monitor Increases High-Frame-Rate Support

Dolby Professional Reference Monitor Increases High-Frame-Rate Support: Dolby Laboratories announced that the Dolby Professional Reference Monitor has added support for content shot at a rate of 48 frames per second (fps). It already supports 60 fps, and expanded support for 48 fps is part of a set of new features that includes support for the AMPAS ACES workflow, which is required by studios for mastering feature films, and Image Systems Nucoda 3D LUT support to help with the color-managed workflow. The software update with new features is planned to be available beginning next week.

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ACES experiment

ACES experiment:
I just finished a day of playing with ACES. As part of a white paper (coming soon) Digital Vision invited me to experiment with the full workflow, and Dolby kindly loaned a PRM monitor for the occasion. I was able to try some film material scanned ADX and delivered as ACES .exr and also some Red material with a new SDK that supports ACES. Consequently I could try some material from the last feature I graded, so I had a pretty good idea of what it was like in a regular project.. I used a release candidate RRT and a P3 D60 ODT, and just for good measure I set the Dolby to reference mode P3 full range.

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