TSC Meeting Summary - March 31, 2026

This week’s TSC meeting was a broad strategy discussion to reassess the direction of the ACES project, focusing on how to better balance long-term vision with practical implementation needs.

These strategy discussion aim to better define what ACES is, what it should prioritize, and how work should be organized going forward.

If you have thoughts or comments or ideas for the project, please feel free to comment on this post, reach out on the ASWF slack, or open an issue on Github.

As a reminder, TSC meetings are held every other week and are open to anyone. But try to let us know in advance if you have a topic so we can allot time on the agenda for it.
Calendar | Past meeting notes

For more detail, you can also review the full meeting notes (& access the recording) here,

Key Themes

Renewed Focus on Adoption & Communication

  • Need clearer messaging around ACES 2.0 improvements
  • Address outdated perceptions from earlier versions
  • Emphasize key components like LMTs and AMF as core parts of the ecosystem
  • Interest in forming a dedicated outreach/education group

Improving Tools for Implementers

  • Strong need for better documentation, reference resources, and validation tools
  • Growing importance of AI-assisted development, which depends on accurate, structured, and accessible technical information
  • Discussion around ACES potentially serving as a more authoritative “source of truth” for color transforms

Clarifying Scope and Measuring Success

  • Need to better define what ACES does and does not do
  • Clarify responsibilities between ACES, implementers, and vendors
  • Establish clearer success metrics for the project

Evolving Technical Priorities

  • Interest in formalizing ACEScct as a standard 10-bit encoding
  • Continued discussion around the role of CTL as a reference vs. production tool
  • Identified gaps in workflows such as AMF adoption and film scanning (ADX) guidance

Organizing the Work

There was agreement on the need for further talk to discuss how to act on:

  • Forming focused working groups (e.g., implementation, testing, documentation, outreach)
  • Defining clear ownership, scope, and deliverables for each group
  • Improving tracking and visibility of ongoing work (e.g., via GitHub projects)

Meeting Structure Going Forward

To better support both strategy and execution, TSC meetings will shift to an alternating format:

  • Strategy-focused discussions (every 4 weeks)
  • Project updates / technical discussions (every 4 weeks)

Additional Notes

  • Next meeting (April 14) will focus on project updates
    • Work is actively progressing in areas like LMTs and AMF tooling
    • CTL repository transition updates

I haven’t contributed here in some time as I haven’t used ACES much but have finally had the opportunity to use ACES 2.0 on set in the capacity of DIT. My Roll out was

Using Pomfort Live Grade 7.1.1 using the Advanced slot setup. The reason for this was to setup a workflow that would allow me to use LG7 dual HDR and SDR setup for a HDR and SDR image pipeline for viewing. I appreciated the large selection of camera IDT and Pomforts

Inclusion of ACES inputs for checking workflow.

I created 3 CDL nodes, 3 Saturation nodes a LMT node and LG7 generates a SDR and HDR ODT. For the CDL and SAT nodes I had a Global, HDR and SDR setup so I can either control HDR and SDR at the same or trim each pipe separately. This was really useful to allow The DOP to quickly see on a small HD vision 24 monitor either feed. It was very nice to use one common look that the DP created with the finishing artist. I generated AMF and CDL files for dailies post along with reference Images. Tue CDL and SAT stacks would be flattened based on the output flag. From my use of this workflow it Does require some streamlining but I think it went well. It would be nice in the future to have some form of image review tool for iPads etc that could flag the reference images with SDR or HDR and show them on the device in the correct manner as well as see the AMF layer and associated meta data. The other nice to have other than baking it into a creative look is a tone map or cut tool to custom adjust what PQ nit roll off / cut for the highlights are and can be tracked by the AMF. I find many DOP’s Don’t always want to see the full range available for creative reasons. not directly related to ACES but the camera manufactures need to have a gamut reduction in the record and stand by indicator for the camera overlays as they turn pale due to them being push out of the colour space. And maybe making the text overlay and frame lines have a further dim option for HDR monitoring. Anyways I am onto my second Netflix movie with this workflow and I have been pleased. It’s certainly being overlooked but the images seem to be accurate and the files work. Thanks to all working on this.