Once principal photography began in Atlanta last summer for Universal Pictures’ and Legendary Pictures’ fantasy comedy Little the post-production workflow also began. The bi-coastal effort by FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies all the way through a full Academy Color Encoding System finish.
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.
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.