The ASC Technology Committee has been renamed the ASC Motion Imaging Technology Council. Established in 2003, the committee has helped organize efforts to study and assess subjects ranging from digital cameras and lens optics to motion imaging workflows, advanced color management, virtual production techniques digital archiving and more recently virtual reality.
Academy Color Encoding System
The Reel Thing, a symposium that supports the Association of Moving Image Archivists, will open with the U.S. premiere of a new restoration of the Oscar-nominated 1960 film La Verite (The Truth). Two additional new 4K restorations also will be shown during The Reel Thing, including the U.S. premiere of Howard Hawks’ Scarface and the world premiere of Alex Cox’s Sid and Nancy. The Reel Thing takes place August 24-26 at the Academy of Motion Picture Arts and Sciences’ Linwood Dunn Theater in Hollywood.
Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
The Motion Picture Academy’s Academy Color Encoding System is now widely used across the movie industry but perhaps surprisingly, it’s also gaining traction in the gaming world. To learn more, Digital Cinema Report recently spoke with Brian Karis at Cary, North Carolina-based Epic Games. The company is known for its industry-leading Unreal Engine, a ground breaking game engine that can be used by other game developers who do not want to develop their own engine.
Award-winning cinematographer Theo Van De Sande ASC was an early supporter of the Academy Color Encoding System, using version 0.2.2 on civil war drama Deliverance Creek in 2013, which was nominated for the ASC Award for Television. Since then he has been a staunch supporter, using ACES on numerous TV shows and pilots. When he was offered the chance to shoot Bad Santa 2 for Miramax, he turned again to ACES for his color-processing pipeline.
The long-awaited sequel to the 2003 holiday cult classic, Bad Santa (directed by Terry Zwigoff), Bad Santa 2 is directed by Mark Waters (Vampire Academy, Mean Girls). Theo Van de Sande, ASC (Blade, Cruel Intentions, Wayne’s World) shot the dark comedy with Panasonic VariCam 35 4K cinema cameras. Comedy or not, Waters and Van de Sande wanted the film to have a darker look. For developing the look of Bad Santa 2, Van de Sande did not use any visual references, including the original Bad Santa (shot by Jamie Anderson).
Marauders, a tense, noir-ish thriller released by Lionsgate Premiere and director Steven C. Miller, recently became the first feature finished in Cognition’s new 4K digital intermediate theatre. The project used an Academy Color Encoding System workflow.
Hybrid post-production facility Cognition has completed construction of a 4K digital intermediate theatre as part of its ongoing multi-million dollar expansion.
After years of research and development, the Academy Color Encoding System is becoming the standard for color management and image interchange for motion pictures, television, commercials and other forms of professional content. The Post New York Alliance & the Visual Effects Society New York, in cooperation with the Academy of Motion Picture Arts and Sciences will present an ACES 1.0 post and VFX pipeline primer July 16 at seven o’clock at The School of Visual Arts Theatre in Manhattan.
How do you get the entire creative team from the set, through editorial, post and archiving to speak the same language when it comes to color management and file interchange? The Academy Color Encoding System is the answer. June 26th the Editors’ Lounge will host a special evening dedicated to educating the post production community about ACES, as well as the latest in state-of-the-art, reference-grade monitors.