HPA 2018: Updates on ACES 1.0, The Evolution to ACESnext

ACES (the Academy Color Encoding System), which makes certain that the color decisions made early on in production are preserved through to the finished master, has evolved since it first launched in December 2014. At the HPA Tech Retreat, NBCUniversal vice president of creative technologies Annie Chang reported that, in 2015, 15 titles were done in ACES, compared to today’s 49+ titles. “We’ve seen the growth not just in feature and episodic, but in the gaming community and corporate clients like IKEA,” she added. Continue reading HPA 2018: Updates on ACES 1.0, The Evolution to ACESnext

HPA 2018: Efforts to Ensure That TVs Display Creative Intent

With the Academy Color Encoding System (ACES), filmmakers have been assured that the color decisions on set are carried through production and post, all the way to archives. But there’s a missing piece: the TV sets, mobile phones and other devices that display what consumers use to watch it. During a panel at the HPA Tech Retreat, led by the International Cinematographers Guild advanced production technology specialist Michael Chambliss, several industry figures discussed how to make sure that consumers see the images as intended. Continue reading HPA 2018: Efforts to Ensure That TVs Display Creative Intent

The Troop Redux: ACES Reformatting and Archiving Project

At AMIA’s The Reel Thing conference in Hollywood, film director/producer Marcus Dillistone, Academy of Motion Picture Arts & Sciences managing director Andy Maltz and Academy Film Archive director Michael Pogorzelski presented a case study of an ACES reformatting and archiving project, with Dillistone’s 1999 short film “The Troop.” The topic is the King’s Troop Royal Horse Artillery, and the film had a royal premiere at BAFTA, with film industry and military guests as well as a British princess in attendance. Continue reading The Troop Redux: ACES Reformatting and Archiving Project

HPA Tech Retreat: How the Pros Handle HDR in Post Production

In a panel organized by Colorfront’s Bruno Munger and moderated by British Cinematographer magazine editor Ron Prince, a group of executives and engineers tackled the topic of HDR workflow in post production. Netflix production engineer for original content Chris Clark pointing to shows like “Marco Polo,” noting that, “Netflix is obviously really excited about HDR.” The company now sets up a pipeline that enables any production to “flip to HDR” if they want to. “We are all about future-proofing,” he said. Continue reading HPA Tech Retreat: How the Pros Handle HDR in Post Production

NAB 2015: Quantel Upgrades Pablo Rio System with 8K Support

Quantel took the stage at the NAB Show earlier this week to announce an upcoming upgrade to its Pablo Rio color grading and finishing system. The software improvement will support 8K Ultra HD. “According to Quantel, its software upgrade allows colorists to work and playback their material in real time and at resolutions up to 8K and frame rates up to 60 frame per second, allowing them to complete today’s requirements and, possibly, future requirements,” notes The Hollywood Reporter. Continue reading NAB 2015: Quantel Upgrades Pablo Rio System with 8K Support

NAB 2015: AMPAS Launches Global Standard for Color Encoding

The Academy of Motion Picture Arts and Sciences used the NAB Show as the launch for the Academy Color Encoding System (ACES) — a free, open, device-independent global standard for color management and image interchange that targets digital production, mastering and long-term archiving of motion pictures. The Academy also announced the support of 22 leading companies that will participate in the ACES Logo Program, which was developed to “encourage consistent, high-quality implementations of ACES concepts and technical specifications throughout the industry.” Continue reading NAB 2015: AMPAS Launches Global Standard for Color Encoding