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ACES<\/strong><\/p>\n The first time I heard the word ACES\u00a0 was when my colorist Yugendran , with lot of joy and glean in his eyes , told me that , we are going to grade my film with the ACES workflow.<\/p>\n Yugendran\u2019s enthusiasm was infectious. I was very curious about<\/p>\n ACES ?<\/p>\n It got very technical , but I was trying to understand in simple terms.<\/p>\n What is ACES ?<\/strong><\/p>\n ACES<\/strong>isA<\/strong>cademyC<\/strong>olorE<\/strong>ncodingS<\/strong>ystem .<\/p>\n ACES is a free , open , device-independent\u00a0 color management and image interchange system that can be applied to almost any current or future workflow.<\/p>\n It was developed by hundreds of the industry\u2019s top scientists , engineers and cinematographers , working together under the auspices of the Academy of Motion Picture Arts and Sciences . ( host of OSCARS ).<\/p>\n ACES 1.0 is the first production-ready release of the system.<\/p>\n Some of the characteristics of ACES are :<\/p>\n See the color gamut picture and the\u00a0 color space of ACES compared to\u00a0 Rec.709 or DCI -P3 or Rec.2020. Its much greater than even the human eye\u2019s gamut.<\/p>\n Why ACES ?<\/strong><\/p>\n ACES\u00a0 preserves the full information of the capture device , all along, the workflow. It can preserve the full range of highlights , shadows and colors\u00a0 captured on set for use , throughout the post-production and final mastering.<\/p>\n ACES simplifies the matching of images from different capture devices. Grading and\u00a0 matching images from different cameras and from CG or VFX\u00a0 becomes significantly easier. It works as a \u201cuniversal container\u201d for footage coming from all kinds of cameras, and it can export the finished project to any color space \u2013 including those that don\u2019t exist yet . Thats why , its future proof. .<\/p>\n Because of ACES , there won\u2019t be any gamma curve problem with easy access to highlights and deep shadows\u00a0 and beautiful colors.<\/p>\n Same grade can be easily exported to different color spaces , without the need for any special tranforms ; like the existing :<\/p>\n Rec.709 ( HDTelevision ) or P3 ( Digital movie projection)<\/p>\n And<\/p>\n Rec.2020 ( Ultra HD ) or the futuristic Rec.2100 ( HDR display ).<\/p>\n Key Acronyms in\u00a0 ACES Workflow :<\/strong><\/p>\n \u00a0<\/strong>In\u00a0 current workflow, the following disadvantages are there :<\/p>\n <\/p>\n In ACES workflow , ACES files are , basically 16 bit floating point EXRs. OpenEXR file format. Effectively , much bigger colorspace.\u00a0 Bigger than even the human eye can see.<\/p>\n In ACES , the following is a typical workflow :<\/p>\n IDT \u2013 LMT \u2013 RRT \u2013 ODT<\/strong><\/p>\n \u00a0<\/strong>IDT\u00a0<\/strong>\u00a0\u2013I<\/u><\/strong>nputD<\/strong>eviceT<\/strong>ransform<\/u>\u00a0:<\/p>\n Handles transforming imagery captured from whatever camera , into the ACES color space.<\/p>\n LMT<\/strong>\u2013L<\/u><\/strong>ookM<\/strong>odificationT<\/strong>ransform<\/u>\u00a0:<\/p>\n Once the images are in the ACES colorspace , LMT provides a way to customize\u00a0 a starting point for color correction.<\/p>\n RRT<\/strong>\u2013R<\/u><\/strong>eferenceR<\/strong>enderT<\/strong>ransform<\/u>\u00a0:<\/p>\n In RRT , the images are rendered , but are not optimized for any one output format.<\/p>\n When we try to convert from one file format to another , somehow the colors change. RRT is supremely important to avoid that and make sure the color is consistent.<\/p>\n ODT\u00a0<\/strong>\u00a0\u2013O<\/u><\/strong>utputD<\/strong>isplayT<\/strong>ransform<\/u>\u00a0:<\/p>\n Maps the high dynamic range output of the RRT to display referred values for specific color spaces and specific display devices. Each target type requires its own ODT. In order to view ACES images on a broadcast monitor for example, they must first go through the RRT and then the Rec.709 ODT.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1247″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Why a Cinematographer should know about ACES ?<\/strong><\/p>\n The early adopters of ACES are Colorists and DI suites , as many of the leading DI grading machines are already equipped for this color space , in their latest releases , and makes their life simpler.<\/p>\n But why should a Cinematographer know about ACES ?<\/p>\n <\/p>\n To some degree a display referenced camera cares less about what the light from the scene is like and more about what the picture looks like on output, perhaps adding a pleasing warm feel or boosting contrast. These \u201cenhancements\u201d to the image can sometimes make grading harder as you may need to remove them or bypass them. The ACES IDT takes care of this by normalising the pictures and converting to the ACES linear standard.<\/p>\n By a greater understanding of the ACES , one can start making images , the older film negative way , by lighting up a scene , using a light meter, instead of depending on lighting off off the monitor or viewfinder.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1249″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1250″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n ACES has a strong theoretical foundation, with years of camera, film and display manufacturer expertise contributed to the project, as well as the considered judgements of many of the \u201cgolden eyes\u201d of Hollywood.<\/p>\n Color can be managed to allow users to confirm images with the same appearance even when using display devices with varying color characteristics, in different stages of production\/post production, even in different parts of the world.<\/p>\n A \u2018future-proof\u2019 archive ready file format is created that can easily produce current and future deliverable.<\/p>\n Hail ACES , its here to stay.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n\n
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he first time I heard the word ACES was when <\/p>\n","protected":false},"author":1,"featured_media":1677,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":true},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/1245"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=1245"}],"version-history":[{"count":3,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/1245\/revisions"}],"predecessor-version":[{"id":1251,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/1245\/revisions\/1251"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/1677"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=1245"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=1245"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=1245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}