By Debra Kaufman

Shot in the remote mountains of southwestern Colorado, Hoax follows a brilliant primate specialist and ruthless TV producer as they investigate the site of a camping trip gone terribly wrong. They soon find themselves fighting to survive — and coming to grips with the fact that Big Foot may not be a legend after all. The movie, which will complete post production in mid-June, is the brainchild of Matt Allen, who wrote and directed it. His friend, freelance editor and colorist Peder Morgenthaler wore many hats, starting with multiple readings of the script. “As Matt was pulling the production together, he asked if I’d like to edit and color grade,” says Morgenthaler. “I ended up post supervising too.”

Peder Morgenthaler

The Academy Color Encoding System (ACES) was already on Morgenthaler’s radar. He’d followed its early development and began experimenting with it as soon as he could. As a result, he immediately thought ACES would be ideal for the Hoax, which would be shot with Red Helium and Monstro cameras. “We wanted to work with the Red RAW data instead of baking in a look,” he says. “The challenge would be how to maintain the full dynamic range present in the camera originals all the way through every step of post production — from dailies to visual effects — so that when the footage came to the color grade none of the information would have been flattened out or lost.”

He also was aware that High Dynamic Range was being discussed as a new display format. “In my research about ACES it became clear that it was a really good way to be able to make an HDR master down the road,” says Morgenthaler. “That would be a big advantage for an indie film. We don’t have access to image scientists or an advanced image processing pipeline. ACES offers us opportunities we wouldn’t otherwise have because of our limited resources.”

Because the production was going to take place in a remote area, with no opportunity for a DIT station, Allen and Morgenthaler made the decision that ACES would only be implemented in post. “We weren’t doing all the on-set color grading and look previewing that you would do in a full ACES pipeline,” notes Morgenthaler. Cinematographer Scott Park shot at 6K and 8K resolution, framing for a 2.39:1 widescreen aspect ratio while shooting 1.78:1 to give enough room for reframing in post. “In addition, we shot segments on ENG and Flir infrared and night vision cameras, so we had several codecs and color spaces in the workflow,” Morgenthaler says. “We also had 120 VFX shots — mostly invisible ones — planned, so we needed a color pipeline that could handle that component as well.”

In post, Morgenthaler used Adobe Premiere Pro for editing, Adobe After Effects with the OpenColorIO plug-in for visual effects and Blackmagic Resolve for dailies, color grading and finishing. “All this software can work in an ACES environment,” he says. “Our goals were to enable a responsive and efficient editorial workflow; maintain image quality, resolution and dynamic range; simplify color management between VFX artists and the colorist; and generate deliverables for multiple display standards with minimal additional grading.”

For dailies, assistant editor Ricardo Cozzolino worked in Resolve, syncing dual-system sound to picture and performing a quick color balance using the Red RAW controls, then exporting the shots as Rec. 709 HD ProRes 422 proxies. “During the edit, I’d apply temp color correction, compositing and stabilization in the Premiere timeline for preview purposes, knowing I would likely have to rebuild those effects in Resolve during the finishing process,” Morgenthaler says. “There were no ACES operations required during editorial; we just worked with the color corrected dailies in Rec. 709 space.”

One unexpected challenge was getting the After Effects compositors up to speed working in ACES scene linear space. “It wasn’t familiar to them,” he says. “They’re used to working in Rec. 709, and since After Effects doesn’t support an ACES pipeline natively you have to use a third-party plug in like OpenColorIO, which has been developed for a number of platforms including AE to enable the ACES color transformations.” The plug-in allows the user to disable AE’s internal color management functions and replace them with the proper ACES color transforms.

Using Resolve, the editorial team exported each plate at 4K as an ACES 16-bit OpenEXR image sequence in linear space. The visual effect artists then executed their shots in After Effects, using the OpenColorIO (OCIO) plugin. In the end, the ACES process worked for VFX exactly like he hoped it would. “All the dynamic range is there,” Morgenthaler says. “I just conformed the completed VFX shots into my color timeline and it worked perfectly, seamlessly replacing the original footage. The shots look wonderful, and they grade exactly like the camera-original R3D files.”

In color grading, Morgenthaler conformed back to the original 6K and 8K Red files inside Resolve, targeting a DCI Scope 4K finish. “After the master grade is completed, we’ll create additional versions targeting various display technologies simply by switching the ACES Output Transform,” he explains. “We can easily create versions for digital cinema, HDR and streaming, which is one of the huge benefits of the ACES process.”

Having the right storage is important to the ACES workflow, since 16-bit OpenEXR at 4K is around 45MB per frame, or just over 1,000MBps at 24 fps to play back in realtime, says Morgenthaler. “Not all storage can do that.” Morgenthaler, who consults with Seagate on their storage systems for post, relied on a Seagate RealStor shared storage system with 144TB of fibre channel storage. “The file sharing is based off of Tiger Technology’s Tigerstore, which enables simultaneous access for all users on the network at full quality and resolution,” he says “That greatly increased the efficiency of our workflow. It meant instant collaboration between team members, with no syncing of separate drives required to maintain collaboration.” In total, the production generated 44 hours of footage and ended up with 19.5TB of total data, not including visual effects.

“We may be on the front edge of using ACES in indie films, but it’ll be more important for indie filmmakers going forward,” he predicts. “There are real benefits to doing so. It’s a powerful tool for maintaining dynamic range and quality, and the pre-built color management pipeline simplifies complex VFX processes. It also increases the film’s desirability to distributors by enabling generation of additional versions such as HDR.

“I don’t know that we could have achieved what we did on this film without ACES,” concludes Morgenthaler. “Large films have access to color scientists and secret sauce, and ACES gives you that in a turnkey package, which is really powerful for a small film.”

Debra Kaufman has covered media and entertainment for 30 years for publications including Variety, The Hollywood Reporter, American Cinematographer, International Cinematographer, Wired and others. She currently also writes for USC’s Entertainment Technology Center’s daily newsletter, ETCentric.