Tag Archives: ACES workflow

ACES adds new companies to Logo Program 

Six new companies have been added to the ACES Logo Program. Membership in the program signals that the companies are committed to implementing ACES into their hardware and software products in conformance with program specifications for consistency and quality. ACES is the global standard for color management, digital image interchange and archiving.

“ACES has given us a solid framework to efficiently solve issues, along with options, to maintain creative control for our productions. It provides much needed transparency, connecting and standardizing the workflows from on-set, dailies, VFX, DI and archival,” says Victoria Alonso, EVP, Physical Production, Marvel Studios. “Standards are important — they help studios protect and monetize our films for years, and they also help create a healthy ecosystem of suppliers and professionals who can reliably work on sophisticated productions because they know the infrastructure beneath them is solid. Standards like ACES give us a common language for applications and pipelines to connect without compromising translations and misunderstandings, and to protect the creative workflow established by filmmakers. We see ACES as an important component in allowing the industry to innovate and work at the highest levels of our craft.”

The new ACES Logo Program partner companies are:
– Color Trix, makers of Color Finale, a color correction add-on to Final Cut Pro X.
– DJI, makers of drones, camera accessories and systems, including the Zenmuse X7, a Super35mm cinema-grade camera.
– In2Core, makers of the QTake video assist system.
– Laser Graphics, makers of film scanning systems: DirectorScanner, Director10K scanner and ScanStation.
– Vision Research, makers of the Phantom line of high-speed cameras.
– WowWow Entertainment, makers of the IS Mini LUT Box.

These six companies join the existing manufacturers of cinema cameras, color correctors, monitors, on-set tools, animation and compositing software who are already part of ACES Product Partners.

Looking at the ACES color workflow on Café Society

By Sarah Priestnall

Last year’s Café Society marked a milestone in Woody Allen’s cinematic career — the first of his movies to be acquired digitally, mostly with the Sony F65 camera, and with additional use of the Sony F55. To accompany him in this endeavor, he turned to legendary Italian cinematographer Vittorio Storaro, ASC. Storaro has, of course, shot some of the most iconic movies of all time, including Apocalypse Now, Little Buddha and The Sheltering Sky. A period piece, set in the 1930s, Café Society tells the story of Bobby Dorfman (Jesse Eisenberg), who leaves the Bronx for Hollywood where he meets and falls in love with a beautiful young woman (Kristen Stewart) who is involved with a mysterious married man.

Storaro uses color and tone throughout Café Society to great effect creating distinctive looks for the different locations. For this, he worked closely with Anthony Raffaele, senior colorist at Technicolor PostWorks, New York. Influenced by photographers and artists, such as Georgia O’Keefe, Alfred Stieglitz and Edward Hopper, Storaro uses look and color as a tool to help tell the story and place the characters in a particular location —in this case the Bronx, Hollywood and New York. As Bobby Dorfman moves from the Bronx, with its muted tones, to Hollywood, the colors become more vibrant and luminous. His life changes drastically and so when he moves back to New York the color palette becomes a blend of the two, reflecting that Bobby’s life has been changed by his time on the West Coast.

Unlike many of his projects, Anthony Raffaele had the opportunity to grade the dailies as well as the final digital intermediate. Conversations between him and Storaro began in pre-production. “We started a workflow and color conversation very early on,” explains Raffaele. “From our initial meeting with Vittorio and his DIT Simone D’Arcangelo, the color pipeline was paramount so that we could maintain the color decisions from on-set through to the finish.” Storaro insisted on a 4K 16-bit pipeline from the camera through to the digital intermediate. He had used Filmlight’s Baselight before on Muhammed: The Messenger of God, and based on that experience he knew that he wanted to use it again.

Although ACES was not used for the dailies, Raffaele was looking for a way to get a really strong image with deep blacks and vibrant colors — something that Storaro thought was perhaps missing in the dailies, at least compared to a film print. He had successfully used ACES previously on a movie with Dean Cundey, ASC — on the movie Freedom in 2014. After some experimentation with Baselight, he realized that he could achieve the richness that Storaro desired with Baselight’s revamped color pipeline which includes ACES throughout. “Filmlight does a great job with ACES color. I’ve found that using their IDTs (Input Display Transforms) gives me a great starting place, says Raffaele. “You can get a really great image very quickly. Also once you’re in ACES color space, creating any deliverable is very easy. The color mapping is amazingly accurate.”

The ease of the ACES integration in Baselight, together with the time saved by using ACES, allowed Raffaele to maximize the time he spent on creative color grading. The fidelity of the original 4K 16-bit images carried through to the digital intermediate with ACES wide color gamut. As Raffaele explains, the combination of Baselight and ACES also made the creation of an HDR deliverable simple as well as future-proofing the content, “there is the archival benefit to using ACES. The large color space will, in theory, futureproof the color decisions made in the room.”

Like many other colorists, Raffaele is convinced of the value of ACES, using it on every project he can. In fact, he is again collaborating with Storaro and DIT Simone D’Arcangelo on Woody Allen’s latest project and using ACES from beginning to end.


Sarah Priestnall has worked in the entertainment technology for many years, always at the forefront of the digital transition, with companies like Kodak, Hollywood Intermediate and Codex.