Colorboy: One More Node for Resolve?
Colorboy gathers camera transforms, grading and film effects in one Resolve OFX. What happens inside it, and do you need it?
Browsing Tag
ACES
43 posts
Volinga brings 4D Gaussian Splats to Unreal
Volinga converts animated PLY sequences into compact NVOL assets for real-time 4D Gaussian Splat playback in Unreal Engine 5.8.
Resolve 21 Manual Reaches 4,443 Pages
Blackmagic’s updated Resolve 21 reference manual documents editing, colour, Fusion, Fairlight, codecs, APIs and delivery across 4,443 pages.
Dehancer Brings Film Dirt to SCRATCH
SCRATCH users get Dehancer’s OFX film-emulation stack, with camera profiles, film stocks, print films and analogue damage for tasteful decay.
D5 3.1 Turns Design Reviews Interactive
D5 Render 3.1 adds interactive presentations, ACEScg, seasonal vegetation and embedded D5 Lite workflows for Rhino and Revit.
FilmLight fl-enhance: Baselight Tools Escape Into Python
FilmLight’s fl-enhance repository brings Baselight and Daylight scripts, shaders and FLAPI tools to GitHub, including LUT wrapping, ACES EXR transcoding and colour utilities.
Beeble adds SDR to HDR on the web
Beeble’s SDR to HDR tool converts short 8-bit clips into 16-bit ACES EXR sequences with masks, prompts and credit-based cloud processing.
Splat happens: Volinga 3DGS workflow for Unreal
Volinga turns photo sets into Gaussian splats for Unreal, with local processing, PLY and NVOL export, cleanup tools, and relighting support. But what does that actually mean? Let's ask some questions!
True Sky 3 brings planet-scale skies to Blender
True Sky 3 goes planet-scale in Blender, adds HDRI output and performance presets, and demands Blender 5.1 because Python moved.
Blackmagic Design updates Resolve 21 beta 2
Resolve 21 beta 2 goes less flashy and more useful: Studio gets more AI toys, Photo capture grows up, and background tasks get serious.
Nuke 17.0 rewires 3D and adds Gaussian Splats
Nuke 17.0 brings native splats, USD scene graph control, BigCat ML scaling and core performance gains.
Grading Kraken: insights from the colour grade
Senior Colourist Dylan Hopkin (Shortcut Oslo) outlines the grading process behind the new sci-fi film Kraken, and how contrast, colour and AI-assisted tools were used to support storytelling.
Resolve 20.3.2 tidies up the edges
Resolve and Fusion Studio 20.3.2 refine trims, speed up AI scaling and fix a long list of real world bugs.
Blender 5.0 – it’s here!
Blender 5.0 is finally here — with ACES/PQ-HDR, high-geometry support, UI tweaks and a fresh release cadence for production pipelines.
Maxon Autumn Release: New Colour Science, Liquids, Clouds and a Logo
Cinema 4D 2026 brings OCIO colour management, GPU simulations, UDIMs, Redshift 2026 plus Maxon’s brand-new ecosystem and logo.
Pixel 10 Pro unlocks true 12-bit RAW with DCG
Pixel 10 Pro quietly enables true 12-bit RAW video via DCG. Good for BCAM, photogrammetry, or set refs. But don’t expect it to replace your cinema cam.
We have to talk about Switchlight 2.0
Beeble’s SwitchLight 2.0 turns raw plates into PBR maps that can be relit like CG. Now trained on 13× more data and extended to full-scene maps, not just the subject. We spoke with co-founder Hoon Kim about what’s new, how it’s priced, and where 3.0 is headed.
ACES Gets a New Home: Academy Hands Off Colour Science to the Academy Software Foundation
ACES, the open source color standard for film, is now under the Academy Software Foundation. The move aims for greater open collaboration and innovation.
LensNode Evolving Vintage Lens Emulation in DaVinci Resolve
LensNode uses real‑lens profiles, GPU acceleration, ACES‑ready processing and granular controls in DaVinci Resolve for authentic vintage lens emulation. Get into early acces now!
DigiDiff v3.0: Kromatica’s Pixel-Level Diffusion for Resolve
Kromatica’s DigiDiff v3.0 brings an upgraded digital diffusion toolkit to DaVinci Resolve, aiming at colorists, finishing artists, and…
ACES 2.0 – available in Mistika!
Wait, there is already a new Version of ACES? We barely got used to the last one! And it is already working in SGO Mistika? Let's dive in!
ACES 2.0, Deinterlacing and Topaz: Mistika’s Triple Threat Update
ACES 2.0, AI deinterlacing, Topaz Labs and SDK support: Mistika Boutique and Ultima update integrates new tech for color, footage, and pipeline flexibility.
FilmLight sends your frames!
FilmLight’s Nara simplifies media workflows and improves collaboration. And you don't even need to have Baselight in your pipeline! The latest version enables seamless progress reviews, approvals, and compliance processes—all without proxies. Interested?
Look development between DoP & colourist
There's a word on everyone's lips at the moment: "look development".
DoP Matthias Bolliger and colourist Louise "Lou" Temmesfeld take a look behind this term.
Grading tricks from a professional
Many of you come into contact with colour grading time and again, whether intentionally or unintentionally. For example, when thinking about colours in the context of a VFX workflow or, like me, because it has become part of my job as a filmmaker in the image film sector. It would be perfectly conceivable to have this work step done by a professional colourist, but the budget is often not sufficient for this...
Castle In The Sky Hommage
We all think Studio Ghibli is great - and if you want to learn what makes it so charming and appealing, a homage is always a good way to go. And I had the opportunity at Ostfalia University,
to really immerse myself - a
an experience report.
Adobe at the NAB
At NAB, Adobe presented innovations for the entire platform - here are the parts relevant for VFX and editing!
After Effects! Substance! Oscars!
And once again news from Adobe: After Effects now supports every variant of OCIO and ACES, Substance Designer has received a bugfix, and there's also a Tech Oscar for the Substance team!
And here comes the new DP!
Hot off the press from the International Broadcast Convention (IBC): quality control, pipeline revolution and the future of video telephony. Read all about ACES (Academy Colour Encoding System) - and how the corresponding workflow works - in our two-part article.
News in After Effects?
The fun thing about IBC is that you meet interesting people - and as we were walking through Hall 7, we met Victoria Nece from Adobe!
How does the ACES work?
Anyone interested in the Academy Color Encoding System or colour correction should watch this short video.
Element-ary Asset Management
There's something with AI and industry relevance for asset management - and it's also from Munich. Do you already know the element?
ACES Colour Management in Maya
Two Autodesk tutorials explain Maya's default ACES workflow and colour picking within the application's colour-management system.
Putting the „Ace” in ACES
The fact that ACES is more than just another buzzword in the VFX industry should have
t should have got around by now. And anyone who works at a major studio in a reasonably up-to-date pipeline will already have had contact with ACES. But what about one-person dancing bands, freelancers with mobile workstations and those who like to dance at several weddings?
Magic Bullet Looks 5 in an ACES Pipeline
Colourist Maximus Raharjo demonstrates Magic Bullet Looks 5 and its integration into an ACES colour-grading pipeline in DaVinci Resolve.
Loveletter
Who doesn't know it: the portable games console that saw the light of day at the end of the 1980s and gave us endless hours of fun and games for many years. We are, of course, talking about the Gameboy. A time when the potential of computer-generated graphics was in its infancy. But what if a creative team back then had had access to today's production pipelines and technologies?
ACES – Control over the primaries at last!
For many CG artists, discussions about colour spaces and colour pipelines are a tedious part of their work. However, the basic rule applies: only those who know and can use their digital colour palette will make the technically correct decisions in the creative process. For an accurate work process, it is therefore necessary to know the pipeline in order to produce controlled results.
IMF – and what it’s all about
IMF - Interoperable Mastering Format - has been around for a few years now. After a somewhat slow start, however, IMF experienced a boom at the beginning of 2O16 at the latest, when Netflix made it its main delivery format. What IMF is and what it is supposed to be good for, however, is still largely unknown to the broad masses of the media industry. This article is intended to provide a brief introduction to the format, shedding some light on its peculiarities and advantages as well as the costs involved. As the cover image suggests, this article will not be a colourful creative experience - but have fun anyway.
The open libraries of Hollywood
At this year’s FMX there was a talk „Open Source Software in the Motion Picture Industry – An Investigation by the Science and Technology Council of the Academy of Motion Picture Arts and Sciences”. In a full room David Morin presented the
results of a survey about Open Source libraries in use in the Motion Picture Industry right now, from a survey done with big studios, software vendors, developers and CTOs – including a live Q&A with the FMX audience.
Update: DaVinci Resolve 12.5.4
New update for Blackmagic Design’s color-correction and editing software: the new update includes support for Rec 2100, 2020, and special Dolby Vision support, among other things. We present the most important new features.
Update: New ACES for DaVinci
The new DaVinci Resolve 12.5.3 Studio update brings good news: ACES support and several bug fixes!
Autodesk Support for ACES
At NAB, Autodesk announced that the Academy Color Enconding Specification, or ACES, will be supported by Maya, Flame Premium, Shotgun and RV.
ACES Learning Day
The Academy Color Encoding System promises to become an important standard in film postproduction. A seminar in Utrecht helps with getting started on the subject.