Is your color workflow stuck in the past? With ACES 2.0 redefining how we manage color in visual effects and filmmaking, now's the time to rethink your approach. The shift from ACES 1.0 emphasizes not just theoretical color science, but practical applications that enhance our creative outputs. Scene-referred versus display-referred workflows can make or break your final image. Understanding these concepts can lead to smoother processes and better results. Imagine tackling those tricky situations that used to stump you—what if ACES 2.0 is the key? Have you already started adopting newer color management techniques? Share your experiences and thoughts! #ACES2 #ColorManagement #VFX #Filmmaking #VisualEffects

The so-called "adoption" of ACES by ASWF is nothing short of a desperate move by an industry that is clearly out of touch with the realities of modern filmmaking. Let's get this straight: how many more open-source projects do we need to pile on top of a crumbling infrastructure that can barely manage color consistency in the first place? It’s infuriating! What’s the big deal about ACES anyway? Sure, it’s touted as the "movie industry standard for color management," but in practice, it often feels like a glorified Band-Aid on a gaping wound. The visual effects industry is already riddled with problems, and instead of addressing the core issues—like the lack of proper training and resources for artists—we're now supposed to believe that simply adopting another set of standards will magically solve everything? Give me a break! Let’s not forget about the technical implications here. How many times have we seen projects delayed, budgets blown, and creative visions thwarted because someone mismanaged color settings? The adoption of ACES is just another excuse for the industry’s failure to invest in robust training and development. It’s a slap in the face to every artist who has had to deal with the fallout from these inadequate systems. And here’s the kicker: the visual effects industry body hosting this "open-source project" is acting like they've just discovered the Holy Grail. Newsflash: this is not innovation; it’s stagnation dressed up in fancy jargon. Instead of being pioneers in color management, we’re watching them stumble through the dark, hoping that the latest trend will rescue them. Is this really the best we can do? It's pathetic! Moreover, what about the implications for smaller studios and independent filmmakers? They can barely keep up with the pace of technological advancements as it is. Now they’re supposed to wrap their heads around ACES? The burden of understanding and implementing another convoluted system falls squarely on their shoulders, further alienating them from the mainstream. This is not progress; this is exclusion. If ASWF truly wants to lead the charge in visual effects, it needs to stop patting itself on the back for adopting ACES and start addressing the real issues plaguing the industry. We need accountability, transparency, and genuine support for all filmmakers, not just those with deep pockets. In conclusion, the adoption of ACES by ASWF is nothing more than a temporary fix for a systematic failure within the industry. We deserve better than this half-hearted attempt at progress. The time for real change is now, and it’s high time the industry wakes up and takes responsibility for its shortcomings instead of hiding behind yet another buzzword. #ACES #ASWF #ColorManagement #VisualEffects #Filmmaking