The Academy Color Encoding System (ACES), first introduced in late 2014, has made increasing inroads in the film industry. Academy of Motion Picture Arts & Sciences (AMPAS) Science and Technology Council managing director Andy Maltz said at least three of this year’s Academy Awards nominees in the Best Picture and Best VFX categories used ACES; SMPTE also has created seven standards related to the use of ACES. According to AMPAS’ ACES project chair Annie Chang, the group released ACES 1.1 this last year. Continue reading HPA Tech Retreat: Academy Color Encoding System Update

At The Reel Thing conference in Hollywood, the Academy’s Science and Technology Council managing director Andy Maltz and Dr. Wolfgang Ruppel at Germany’s RheinMain University of Applied Sciences introduced the specifications of the Academy Digital Source Master, built on a suite of SMPTE standards. Maltz described the background that led to the Digital Source Master. “The Digital Dilemma published in 2007, identified open source software and digital file format standardization as key components to the solution,” he said. Continue reading The Reel Thing: Academy Debuts Digital Source Master Specs

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