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Found 6 results

  1. BURBANK, CA (May 1, 2019) – There’s nothing small about the bicoastal post-production workflow provided by FotoKem for Universal Pictures’ and Legendary Pictures’ Little. FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies through finishing with a full ACES finish for this fantasy comedy. From blockbuster producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director and co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of hers
  2. Hey everyone, I recently have been attempting to understand ACES. Currently, I am using C-LOG footage from a C100 mk II, but I've noticed that the IDT for C100 C-Log isn't listed in the Resolve project settings. I've found a CTL file for this (presumably) on Canon's website, but I have no idea how to install that in the program, and the more I try to delve into ACES the more complicated everything seems to be. Does anyone have advice for this? Thanks!
  3. WHAT: 2015 Cine Gear Expo ACES Panel WHEN: Saturday, June 6th, 10:15 to 11:30AM WHERE: Sherry Lansing Theater, Paramount Studios DESCRIPTION: After years of research and development, ACES 1.0 has arrived. ACES enables DPs and directors to preserve the on-set creative intent and carry it into dailies, editorial, VFX, the DI and on into archiving. It does this, in large part, by addressing many of the long-standing color management issues facing today’s productions. Hear from hands-on filmmakers and technologists how ACES came into being, why it is important and how it impacts
  4. Hi Guys, I’ve been running into some very strange discrepancies between grading in the ACES and YRGB colour spaces in Resolve, and was wondering if anyone might be able to shed some light on them? In a nutshell, what I’m seeing is the following: - in YRGB, images respond predictably to LUTs, but yield less subtle variation in skintones - in ACES, images become violently overexposed when applying LUTs, and contain boosted red tones - After correction, images in ACES appear to yield more accurate and nuanced colour reproduction Here’s the original log image (slog3 from a Sony F5) an
  5. Hey everyone, I work for Central, a DI facility in Vancouver, and together with FilmLight and Dolby we're hosting an event in November about our work on Neill Blomkamp's Elysium. We'll be discussing our approach to VFX integration, using the ACES colour workflow, as well as some creative insight from our colourist, Andrea Chlebak, on creating the look. Elysium: Crafting the Future in DI November 14th, 6:30 to 9:30 @ Vancity Theatre RSVP and additional information on our Eventbrite page: http://elysiumcraftingthefuturevancouver.eventbrite.com/ Thanks! -Alex
  6. Hi there, I am new to the cinema DNG workflow and I just started working with the Ikonoskop a-cam-dii. Although I have been doing a lot of research on the subject, I would like to have some advice from someone with some experience in the field. My questions is the following: for projects that do not need massive color correction, would it be acceptable to throw away the DNG files after transcoding them to Prores 4444 or Prores HQ 422 and use these Prores files as the master files? What would the disadvantages be in this case, if any? Thanks
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