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SCRATCH Brochure
 

SCRATCH Brochure

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The best DI system on the planet... I am totally unbiased of course. If you want the best conform, grade and finish experience up to 4K res on your "shot on Red" film, using Redcode RAW ...

The best DI system on the planet... I am totally unbiased of course. If you want the best conform, grade and finish experience up to 4K res on your "shot on Red" film, using Redcode RAW natively, contact me!

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    SCRATCH Brochure SCRATCH Brochure Presentation Transcript

    • The SCRATCH Digital Process Solution™ The SCRATCH Digital Process Solution™ from ASSIMILATE is a single, open, real-time, resolution-independent data workflow solution with a robust feature set that includes data management, review/playback, assemble/edit, conform, primary and secondary color grading, multi-layer grading stack, audio, visual effects (enhanced by third party plug-ins), support for 1D, 3D and customer-developed LUTs, and final mastering to any film or tape format. Whatever your imagery project, SCRATCH will increase your speed, productivity and profitability. DAILIES | CONFORM | CINE | COLOR GRADING | FINISHING | STEREOSCOPIC 3D SCRATCH® Highlights X-perience... Integrated Grading and Finishing Native REDCODE RAW A fast and efficient User Interface File based Architecture Accurate Image Representation Color Management High speed Conform & Confidence Checking Shot Versioning Direct Output Multiple Outputs Stereo workflow Flexibility Determine your workflow FILM TO FILM/FILM TO TAPE/FILM TO DIGITAL CINEMA | TAPE TO TAPE/TAPE TO FILM/TAPE TO DIGITAL CINEMA | RED TO DIGITAL CINEMA/RED TO FILM/RED TO TAPE COMPANY Het Raam Digital Cinema, The Netherlands PROJECT Philips 4K - Wake Up Light Philips Wake Up Light - a promotional video shown on a 60ft screen in Red Square, Moscow. Original dimensions 5760 x 1080 pixels. CREATIVE TEAM Written by Sjebnem Aydeniz Producer Periscope/Marte Elings Director Sjebnem Aydeniz DoP Robert Berger Color graded Maarten Treurniet, Het Raam Digital Cinema SFX Peter Claassen and Roloff de Jeu at Het Raam Digital Cinema Image courtesy of Philips Design/Periscope Now enjoy The SCRATCH X-perience Edition IV PAGE 4 TECHNICOLOR CREATIVE BRIDGE USA >> SCRATCH SUPPORTS 3D WORKFLOW FOR MY BLOODY VALENTINE 3D PAGE 11 CAVIAR BELGIUM >> SCRATCH IS A DELICACY THAT MANY SAVOR AT CAVIAR PAGE 5 20TH CENTURY FOX USA >> X-MEN ORIGINS: WOLVERINE STREAMLINED WITH SCRATCH PAGE 12 KATABATIC USA >> SCRATCH AND RED PROVIDE THE CREATIVE EDGE PAGE 6 SONIC FILMS UK >> MASTERS THE RED 4K FORMAT WITH SCRATCH PAGE 13 MASTERSHOT POLAND >> SCRATCH HITS THE 4K TARGET AT MASTERSHOT STUDIO PAGE 7 ENCORE MEDIA USA >> SCORES WITH THE SCRATCH-RED 4K WORKFLOW PAGE 14 DR&A USA >> GO COUNTRY WITH THE SCRATCH-RED WORKFLOW PAGE 10 8MM PRODUCTIONS INDIA >> CHANGES FILMMAKING IN INDIA WITH THE SCRATCH-RED 4K WORKFLOW PAGE 15 PETER HJORTH DENMARK >> SCRATCH BRINGS POWER TO SCANDINAVIA Enjoy all the case studies at www.assimilateinc.com/case.html 2 The SCRATCH X-perience © Copyright Fuerza Bruta. Image courtesy of HD Argentina. © Copyright ASSIMILATE, Inc. 2009
    • THE CREATIVE WORLD OF SCRATCH COMPANY HD Post, Finland PROJECT Helppo Elämä (Easy life) “SCRATCH reliability, The twelve episodes drama series was produced by Moskito television for Finnish tv-channel MTV3. The series was shot entirely on Red One digital cinema camera, edited on Apple Final Cut Pro, on-line conform and color correction was made on ASSIMILATE SCRATCH. The series had approximately 6 terabytes of raw material. support efficiency - CREATIVE TEAM Produced by Roope Lehtinen, Mikko Pöllä and Tarja Ahava (Moskito Film) this is why SCRATCH “Why SCRATCH? Director Veikko Aaltonen DoP Jari Mutikainen Editor Jari Heikkinen SCRATCH Colorist Jussi Myllyniemi Image courtesy of Moskito Television inc./MTV3 works for us” Because it COMPANY 12 Forward USA PROJECT The 2 Bobs, 86 minutes, HD Cam, 2009 The 2 Bobs was shot on two Cine Altas and edited on Final Cut Pro. It was taken to 12 Forward on a hard drive and injested into SCRATCH where it itches..!” was conformed, onlined and color graded by Omar Godinez. The 2 Bobs was premiered at SXSW in Austin and has been accepted in the AFI Dallas International Film Festival 2009. Digital Factory France CREATIVE TEAM Director Tim McCanlies Writer Tim McCanlies Producer Seth Caplan Editor Mark Coffey DI Editors Terry Wester, 12 Forward Frederic Warnotte Colorist Omar Godinez, 12 Forward Aviv Yaron Image courtesy of Texas Avenue Films/12 Forward Technical Manager Cinesite COMPANY Kincine, Spain PROJECT The Art of Stealing Feature film shot on Super 16mm. Scanning: dpx 2k SCRATCH PROCESSES Negative cleaning, Conforming, Grading, Mastering - HDCAMSR, HDCAM and dpx CREATIVE TEAM Colorist Oscar Martínez DoP José António Loureiro A.I.P Image courtesy of Stopfilm & Galavis Film COMPANY Hollywood-DI, USA PROJECT The Vicious Kind, Sundance Film Festival Entry 2009 “Why SCRATCH? Shot on 35mm 3-Perf. Edited in FCP Prores Offline Online/Color in ASSIMILATE SCRATCH It is the Swiss army knife of digital workflow CREATIVE TEAM Director/Writer (screenplay) Lee Toland Krieger Producer Cinematographer Bradley Stonesifer production tools” Colorist/Online Editor Aaron Peak DI Supervisor Neil Smith Mike Seymour Image courtesy of 72nd Street Productions, Candleridge Entertainment and Hollywood-DI The SCRATCH X-perience 3
    • SCRATCH supports 3D workflow for My Bloody Valentine 3D at Technicolor Creative Bridge The use of Stereoscopic 3D and RED ONE 4K digital formats is on the rise and Technicolor Creative Bridge can readily handle the post production for both. ASSIMILATE’s SCRATCH Digital Process Solution brings easy handling of R3D files and speed to their post process. For My Bloody Valentine 3D (January 2009) orientation – edit, flip/flop, trim – to get the two Lionsgate turned to Brian Gaffney (Vice eyes properly aligned and ready for the transfer President/GM) and Dan Lion (Vice President to HDCAM SR. Marketing & Sales) at Technicolor for the back-end post production, requiring dailies in Quality Control: We did a lot of the QC up front, both 2D and 3D sent to their offices. As early using LUTs brought into SCRATCH for the color QC adopters of SCRATCH, Gaffney and Lion knew it to ensure the material was properly matched and could easily handle a variety of input formats, the TC and ALE files matched. including the RED 4K digital files (native REDCODE RAW files), and output to your format Visual Effects: In support of VFX, we would of choice. commonly be asked to render out 4K DPX background plates to allow the compositors to Brian Gaffney Technicolor Creative Bridge: “For pan and scan the plate behind the 2K My Bloody Valentine 3D, we used SCRATCH as a foreground to achieve the best visual impact. versatile support tool for four different The DI artist could ask for the timecode or applications within our 3D workflow.” filename of any original R3D file for rendering out as requested, and since SCRATCH tracks all Virtual Telecine: For all dailies, we loaded the of this metadata it was very easy to support RED R3D files from Paradise FX onto our these requests. Globalstor server running SCRATCH, and recorded in real time to HDCAM SR with custom Gaffney adds, “At first glance, tackling a 3D LUTS applied. project appears to be daunting and that’s why we opt for best-of-breed tools like SCRATCH. My Bloody Valentine Theatrical Art Poster Jensen Ackles stars as ‘Tom Hanniger’ in Edit Module: We could check that the content SCRATCH is a powerful stand-alone workflow in My Bloody Valentine 3D. Photo credit: Michael Roberts was in sync at the beginning of a take. Due to itself, but it also works seamlessly, as in this the design of the 3D camera rig, one camera case, within any digital workflow as defined by Credits would continue to roll for a few frames after the the project. Its ability to support any format – HD, Produced by Lionsgate Director Patrick Lussier DP Brian Pearson Format 3D stereoscopic stop record triggered and could get out of SD, 3D, RED 4K, 35mm, 16mm – and its depth of Camera RED ONE™ Digital 4K Camera, provided by Paradise FX Back-end Post Production Technicolor phase. Within SCRATCH construct, the artist could functionality make it a highly used and versatile Hollywood Post Post Production Tool SCRATCH® Digital Process Solution SCRATCH artists Matt Purse, check the left eye and right eye, change the tool within our workflows.” Patrick Bellanger, and Ernie Camacho Workstation Globalstor Extreme DI 4 The SCRATCH X-perience
    • SCRATCH Along with supervisor Wil Fluckey, Chris The 2K files are loaded onto a server knew from the start of production that and then ingested by a SCRATCH mobile Wolverine was the perfect film to utilize system that is calibrated with the streamlines the advantages of SCRATCH in the post vendor-supplied 3D LUT. The artists use production VFX data pipeline. the mobile SCRATCH system wherever needed within the studio - for example, X-Men Origins: the cutting room or VFX session, etc - for evaluation, creating sequences, and playback from 2K DPX files. A permanent Wil Fluckey, 20th Century Fox Studios Wolverine SCRATCH system resides in a Fox Studio “Working with digital files is better than screening room, where the same files are working with film because the project used for the real-time 2K reviews by the moves much faster through post studio team. production, we’re able to skip the The much anticipated X-Men Origins: Wolverine According to Wil, SCRATCH software is traditional time-consuming film out/print being used by the studio’s VFX process, and we still get quality results (May 2009), starring Hugh Jackman, is now in post supervisors, Pat McClung and Greg instantly. In heavily intensive VFX films, production at 20th Century Fox studios under the guidance Baxter, and their teams to handle and time is of the essence so SCRATCH is a manage all the 2K visual effects (VFX) very useful tool for us. All day long our of Ted Gagliano and Chris Dowell. files for Wolverine that have been teams put SCRATCH to the test. I can’t submitted by numerous visual effects imagine doing another big VFX houses around the globe. film without SCRATCH.” Credits Director Gavin Hood Studio 20th Century Fox VFX Post Production SCRATCH® Digital Process Solution X-Men Origins: Wolverine VFX images courtesy of 20th Century Fox The SCRATCH X-perience 5
    • As one of the first companies in the UK to shoot with RED 4K cameras, Sonic immediately realized the need for a complementary data workflow that would work seamlessly with this emerging format. Sonic clients liked the look of RED footage but also asked for a more efficient and easier workflow than the traditional tape and film workflows. 18 months ago, Sonic installed SCRATCH for these reasons and because it offered the only true native RED RAW 4K workflow. masters RED 4K For example, from a hard drive with rushes and the EDL of an hour-long cut, Sonic can when squeezed into the large irregularly format with do the conform in under 15 minutes, which they see validating the future of a tapeless RAW workflow. A significant shaped concert LCD screens, they would look perfect and hold as much resolution as possible. Sonic says they achieved this Colm O’Rourke at Sonic Films: “During these 18 months, we’ve used SCRATCH extensively. It’s a great grading tool; has SCRATCH project challenge was the post production easily because SCRATCH is not tied down the best conform features in the business; for George Michael’s World Tour, featuring to one size or format. They were able to is lightening quick with DPX files; converts Ditta Von Tease’s burlesque routine easily turn the construct into any size for a footage to a wide variety of formats; has projected on huge screens during his preview of what the images would look the ability to mix DPX files and Quicktimes concert. Michael’s performance was shot like on the large screens. “With most other in the same construct; and has the unique using two RED 4K cameras. Edited on Avid, systems it would have been impossible to ability to playout RED RAW 4K files to the piece had over ten layers of complete this project. SCRATCH was able HDCAM SR in real time. I don’t know of any over-laying and comping footage. Sonic to blaze through all the resizing of the 2K other workflow that offers this high level of then did the conform in SCRATCH at 2K material, enabling us to complete the versatility and ease of use.” resolution. The tricky aspect was precisely project on time.” stretching all the pictures in width so that Credits Post Facility Sonic Films Colorist Colm O’Rourke Camera RED ONE™ Digital 4K Camera Post 4K Workflow SCRATCH 6 The SCRATCH X-perience
    • Encore Media (Nashville) scores with the SCRATCH-RED 4K workflow Encore Media has an expert team of artists and post professionals who help a variety of clients realize their imagery dreams and ideas on video or the big screen. Their projects include work for some of the biggest name talent in the music industry, including the Rolling Stones, Santana, Elvis Costello and Lady Antebullum. Earlier this year, Encore built a dedicated post efficiency, and time savings from the combined use production suite for the SCRATCH 4K Workflow in of the RED-SCRATCH 4K Workflow. For example, the response to the growing use of the RED 4K camera RED RAW R3D files are fed directly to SCRATCH and in shooting country and Christian music videos. the conform takes place in real time. Then, the final Since then, Encore has been pumping out edited piece is color corrected, rather than color RED-SCRATCH projects, including Rodney Atkins’ “It’s correcting all the source material, which saves the America” music video. Other RED-SCRATCH projects client considerable time. Cost savings is another include Jason Aldean’s “She’s Country” (Ruckus factor for clients because with RED and SCRATCH, post workflow, with its ability to directly ingest the for RED 4K footage – the conform, construct, color Film), Craig Morgan’s “God Must Really Love Me” there are no film or telecine costs. native REDCODE RAW files, the post workflow was correction, playback, reviews, and finishing. (Broken Poet), and Taillight TV’s Lady Antebellum John Buchanon, Senior Colorist, Encore Media: difficult and required working with down-converted SCRATCH also works in many formats, and this video “I Run to You” to name a few. “Once we got SCRATCH, we had clients waiting on material. We initially planned to use SCRATCH as versatility allows us to integrate other material from John Buchanon, senior colorist at Encore Media: our doorstep with their RED footage. Clients loved an affordable, high-quality real-time color corrector a variety of sources into a project. It also outputs says their clients are savoring the quality results, using the RED camera, but until the SCRATCH 4K for HD, but were able to immediately put it to work to a variety of formats.” Image top left: Courtesy of Encore Media: SCRATCH used for color grading of Rodney Atkins’ Client Broken Poet Project Rodney Atkins; "It's America" music video DP & Director Eric Welch “It’s America” music video. Middle and rmain images: Courtesy of Encore Media: SCRATCH used Post Production Facility Encore Media SCRATCH Colorist John Buchanon Camera RED ONE™ Digital for color grading of Taillight TV’s Lady Antebellum video “I Run to You.” 4K Camera Post 4K Workflow ASSIMILATE’s SCRATCH® Digital Process Solution The SCRATCH X-perience 7
    • THE CREATIVE WORLD OF SCRATCH COMPANY The Mill Datalab, London COMPANY SYSPLEX Media, Hungary PROJECT Dance PROJECT Dream.net Shot entirely on two RED One cameras, edited on Final Cut Pro, Conform The Mill Datalab rush through with RED and SCRATCH to deliver ‘Dance’, and Color correction made on ASSIMILATE SCRATCH at 4k. Recorded to T-Mobiles’ new commercial in 24 hours. film by ARRILASER at 4k cinemascope. Client Saatchi & Saatchi Produced by HCC Media Group & Parabel Studio. Post Production Team (SYSPLEX Media) Post Production Supervisor, SCRATCH Colorist Peter Deak Lead Visual Effects Peter Bako Data Management Balint Sipka Image courtesy of The Mill Datalab COMPANY Hollywood-DI, USA PROJECT Radio Free Albemuth “the SCRATCH range of features Movie adaptation of Philip K. Dick’s novel “Radio Free Albemuth”. Shot On Viper Filmstream. Edited in FCP XDCAM Offline. Online/Color in ASSIMILATE SCRATCH are extremely powerful, especially for finishing” CREATIVE TEAM Director, Writer (screenplay), Producer John Alan Simon Writer (novel), Cinematographer Philip K. Dick Jordi Niubó Colorist/Online Editor Jon Felix Aaron Peak DI Supervisor Neil Smith I/O Post financial director Image courtesy of John Alan Simon, Discovery Productions & Hollywood-DI and co-founder COMPANY La Sociedad Post, Argentina PROJECT Dia Naranja COMPANY Wefadetogrey, Germany Produced by Estrella Films. Shot entirely on 35mm, edited on Avid Media PROJECT MARS Plants Commerical Composer, scanned on NorthLight, Conform and Color correction made on ASSIMILATE SCRATCH. All Digital Intermediate made at 2k. Shot on RED and finished in ASSIMILATE SCRATCH. CREATIVE TEAM Produced by Daniel Jerozolimski (Estrella Films) Creative Swen Linde Director Alejandra Szeplaki Director of Photography Cezary Jaworski www.wefadetogrey.de SCRATCH Colorist Matias Kamijo Image courtesy of La Sociedad Post & Estrella Films COMPANY Cloudburst Films, UK PROJECT Loud & Clear the CREATIVE Multi-layering & resizing each shot up to 10 times to create a dislocated feel, without distracting from the video itself. Offlined & conformed in FCP using QTProres 1920 x 1080. Graded in SCRATCH from the native .r3d files. CREATIVE TEAM Director Henry Scholfield - Partizan Editor Johnny Rayner - Speade Creative/Colorist Mark Wilenkin with special thanks to Torquil Deardon - Cat Skinners Visit the Image courtesy of Henry Scholfield 8 The SCRATCH X-perience
    • COMPANY Complete Post, Australia PROJECT Salad Plate Shot 35, edited Avid, Scanned arri, Graded 2k SCRATCH CREATIVE TEAM Director Tony Rodgers Produced by Renegade Films SCRATCH Colorist Fergus Hally www.completepost.com.au Image courtesy of Complete Post and Renogade Films COMPANY EFE-X, Colombia PROJECT EN COMA Producer EFE-X CINE / COLOMBIAN CINE / ANTORCHA FILMS Director Henry Rivero /Juan David Restrepo Post Production EFE.X CINE www.efe-x.com Image courtesy of HCC Media Group & Parabel Studio Image courtesy of EFE-X CINE / COLOMBIAN CINE / ANTORCHA FILMS COMPANY IKA Collective, USA PROJECT K'Naan MTV Black History Month Produced by MTV Networks Shot on RED ONE camera Color correction made on ASSIMILATE SCRATCH Digital Output to HDCAM CREATIVE TEAM Produced by Jeff Woodton Director Jahai Brightly SCRATCH Colorist Gary Scarpulla, IKA Collective Image courtesy of MTV Networks and IKA Collective “It is so much easier to exceed client expectations when I have the power and versatility of SCRATCH at my fingertips” Yohance Brown Colorist Image courtesy of BBDO – MARS PLANETS COMPANY Het Raam Digital Cinema, The Netherlands PROJECT The Winner Is… ‘The Winner Is…’ is a 13 part television series about two couples that win LINK... the main prize in the lottery. Shot on RED. Director Johan Nijenhuis Written by Johan Nijenhuis, Alain de Levita Director of Photography Mark de Blok FREELANCE DIRECTORY on the ASSIMILATE website Producer NLfilm Graded by Marijn Eken at Het Raam Digital Cinema www.hetraam.nl Image courtesy of NLfilm/Mark de Blok The SCRATCH X-perience 9
    • 8mm Productions is a production and post production company with its roots firmly grounded in the heart of Bollywood. Two years ago, Ajit Gupta, David Premier, Manish Hamza and the 8mm team ventured into the then unknown world of digital 4K cinema, unaware this would catapult them to the forefront of the new digital imaging revolution, destined to change filmmaking for independent and studio filmmakers in India. 8mm Productions changes filmmaking in India with the SCRATCH-RED 4K Workflow David Premier, 8mm Productions: “For Alla Udhal, we transitioned the could handle the 4K media directly from the RED ONE camera without any painstaking RED footage to SCRATCH, used the EDLs in doing the conform and conversions. At first glance, it seems like a drastic change in tried and true color grading, got the DPX files out, and did the finishing – all traditional methodologies, but the proven high quality results at incredible in real time. We’re also able to create a variety of price/performance – considerable cost and time savings throughout the deliverables as needed in different formats. With the post process – outweigh any thought of risk.” SCRATCH-RED workflow, we have the camera and 8mm clients include MTV, Channel V, Nirvana Films, Black Magic tool suite to raise the level of quality of Bollywood Productions, and Fingerprint Productions, to name a few. films – comparable to 35mm – while working Additional SCRATCH-RED projects include commercials for within tight budget constraints.” Piaggio Ape Truk, Radio Mirchi, and Shaadi.com, as well as Ajit Gupta, 8mm Productions: We realized the documentaries and corporate films for Reliance Industries RED footage needed a real-time data pipeline Limited and several diamond manufacturers/exporters in of software tools geared to handle the RED 4K India. Other films include Director Siddharth Anand Kumar’s digital files. So, the next logical step was to Semshook, with Cinematographer Pankaj Kumar (Elephant build a seamless data pipeline, from off-line to Films); and Director Aditya Sengupta’s Channel V Promo, with finishing. For the digital intermediate – conform, Cinematographer Saurabh Vishwakarma.” color grading, edit/reviews, dailies, through to finish – we chose ASSIMILATE’s SCRATCH for its rich Images courtesy of 8mm Productions, Mumbai, India: “Alla Udhal” feature set, agility, and speed in handling the native REDCODE RAW file (inset); final file after post production in SCRATCH (main). REDCODE RAW files.” Manish Hamza, 8mm Productions: “For 8mm, SCRATCH Credits obviously made a lot of sense because it was the only software that Film Alla Udhal Producer Saga Arts Director Nikhil Sinha DoP Nikhil Sinha Camera RED ONE™ Digital 4K Camera Post Production SCRATCH® Digital Process Solution 10 The SCRATCH X-perience
    • SCRATCH is a Peter Deuss, Caviar’s CTO, says Multi-purpose: The commercials, TV dramas Versioning: 99 percent of the time we need to and features we work on each have different make new versions of commercials with SCRATCH enjoys a varied diet – 10-bit, workflows and formats. But that’s not a different pack-shots or film trailers for different 4:4:4, DPX log files from film scans, delicacy that problem. SCRATCH is resolution independent, markets. One of the big advantages of having raw footage from RED 4K, as well as so it offers a level playing-field for the DPX, SCRATCH is that we can easily perform the 1080i HDCam material. Custom JPEG 2000, R3D, uncompressed CINE files and re-edits, conforms and grades in-house, and many savor developed LUTs mean that grades done on SCRATCH reproduce perfectly 1080i we typically handle. Multi-tasking: SCRATCH has many different then master to whatever format is needed – HD, 2K DPX, JPEG 2000. at Caviar on 35mm print, in a digital cinema, or on a TV screen. users here. We work with several freelance graders. Our in-house editors and artists use (Third image from left) The Emperor of Taste - Lies Willaert & Fotowerken. “My Queen Karo” “My Queen Karo” “The Emperor of Taste” “Dirty Mind” “Tied Together” Caviar is a production company for high-end Why SCRATCH? SCRATCH’s built-in paint tools for things like Projects What defines Caviar is quality work and dust-busting. I even use it for real-time client Recent long-form finishes on SCRATCH at commercials that also produces high-quality results, and as a high-quality grading system reviews and to show work-in-progress. It’s Caviar include the Flemish TV series The SCRATCH gives us total control over the truly multi-functional. Emperor Of Taste, a triple award-winner at TV dramas and full-length features. It has a imagery on commercials and long-form the International Festival of Audio Visual burgeoning in-house post production facility at its projects. Using SCRATCH as the core of our Highly stable: When we did the DI grade for Programmes in Biarritz, January 2009; and My workflow optimizes our different types of The Emperor of Taste series, we had all ten Queen Karo and Dirty Mind, both entered for HQ in Brussels that includes ten editing suites, productions by bringing our technical episodes on-line in SCRATCH at the same the Cannes Film Festival 2009. The feature knowledge and assets together so that we time. That’s 10 x 50 minutes. Our colorists Tied Together, released March 2009, became the latest VFX, CGI, desktop retouching systems, can finish projects to exactly match our loved it. They could jump between episodes, the number one box office feature in Belgium. client’s vision. compare and transfer grades, apply new plus the SCRATCH® Digital Process Solution for ones, and playback the results at 2K in www.dirtymindthemovie.com DI grading and finishing. Cost-effective: SCRATCH has a rich post real-time. Simultaneously, we had a www.tiedtogetherthemovie.com production feature set, yet the price difference full-length feature on SCRATCH – around 60 www.caviarcontent.com between SCRATCH and other workflow and DI percent of it was 4K footage, the rest was All other images courtesy of Caviar. systems is enormous, which was one of the at 2K. It all worked perfectly, without a main attractions for us. single crash. The SCRATCH X-perience 11
    • SCRATCH and RED give Katabatic Digital a creative edge for the advertising market Emery Wells founded Katabatic Digital in NYC to Katabatic recently wrapped up an ad campaign for Rocawear, the young, hip clothing and life-style brand founded ten years ago by rapper Jay-Z (Shawn Carter). Wells notes, “Shot with the RED camera, the Rocawear ad is stylishly sexy so you need provide 4K post production services for high-quality to get the lighting and shadows just right. As the colorist for the project, Yohance Brown was able to enhance the beauty of visual projects such as ad campaigns, music videos, the imagery and do a lot of beauty/clean-up within SCRATCH, which saved at least a half day on a Flame for the client. The and TV episodes. They provide the RED 4K camera for client was extremely pleased with the final results.” the shoot and use SCRATCH for the full post production, including conform, construct, color Emery Wells, Founder and Digital Artist, Katabatic Digital “I had an immediate, visceral response to the 4K high-impact grading, dailies, client reviews, and finishing. imagery the RED camera could produce. I knew this camera had the potential to go head-to-head with the quality of 35mm imagery. We then needed the right digital finishing pipeline and SCRATCH was the clear answer for our needs. With the Their client list for the high-end advertising market combination of the RED camera and working in real-time with SCRATCH, we can deliver high-quality results and eliminate large blocks of time in the post process, which in the realm of TV commercials is huge.” includes major household brands, including Marriott, Pillsbury, Pfizer, MillerCoors, Crisco, KFC, Citibank, Image courtesy of Rocawear clothing line; Katabatic uses SCRATCH CONstruct for ad campaign. CVS Pharmacy, Rocawear and more. Credits Client Rocawear Clothing Post Facility Katabatic Digital Creative Director, Translation Michael Godshall DoP Dewey Nicks Colorist, Katabatic Yohance Brown Camera RED ONE™ Digital 4K Camera Post Workflow ASSIMILATE’s SCRATCH® Digital Process Solution 12 The SCRATCH X-perience
    • SCRATCH hits the 4K target at Mastershot Studio Mastershot Studio is a trailblazing production and post production company based in Warsaw, Poland. Established in 2007, its combination of the RED 4K camera and SCRATCH 4K full-finishing workflow, have reduced costs for independent producers, enabling young Polish filmmakers to get out there and make their films, while also encouraging more work for major broadcasts and commercials. “In Poland, people want image quality but the film budgets are low, especially for the movies of young filmmakers,” says co-owner and SCRATCH artist Bartosz Malina. “Now, with SCRATCH and RED, they can have superior image quality and it won’t break the bank.” Good workflow SCRATCH is the best tool to work with R3D native files coming out of the RED camera. Along with conform and grading, we also use SCRATCH as a digital lab facility, converting material into DPX files or JPEG 2000 format. Winning toolset SCRATCH is an incredibly fast system. Along with speed, reliability and very good quality, it also has a fine array of color grading tools. SCRATCH is pretty much a self-sufficient data workflow that lives up to our post production needs. Simplicity The great thing about SCRATCH is how simple it is to use. The person working in SCRATCH doesn’t have to be a technical expert. They might be an artist, and that’s good for creativity. A typical finish On the full-length feature “The Photograph” we conformed the selected RED 4K R3D takes in SCRATCH from an FCP EDL. We graded the production in our 2K DCP suite using our own 3D LUTs, before adding titles, animation and sound. From SCRATCH, we then created the 4K DPX files for film-out. This is pretty typical of the productions we‘re handling, and the great thing is it works beautifully! Spot on We’ve definitely hit the target. SCRATCH has amazing capabilities for its low price, and we can pass this directly on to local filmmakers. Word is spreading about our capabilities, and we are now seeing more commercials and broadcast work coming in. Projects Recent projects conformed and graded in SCRATCH at Mastershot Studio include commercials for mBank, Yoksine cosmetics, and mobile network operator Play; branding promotions Kino Polska and TVN; and a music video for Ania Dabrowska. Full-length feature films finished on SCRATCH include “The Photograph”, “The Mill and The Cross”, “Hanoi-Warsaw”, and “Komisarz Blond”. (Top) Image courtesy of Kino Polska Sp.zo.o. 2009, “Hanoi-Warsaw”; (Middle) Image courtesy of Koncept Media Radek Stys 2008 “Zdjecie”; (Bottom) Image courtesy of Mastershot Studio. The SCRATCH X-perience 13
    • DR&A (Nashville) brings the SCRATCH-RED 4K Workflow to Country Music Weeks quickly understood the need for a seamless Bret Weeks, General Manager, DR&A: “One of our We were able to make any changes/edits in real achieve comparable results and squeeze the digital post production workflow that could handle biggest clients, Taillight TV used the RED camera to time, which the client loved because it’s a big budget to an acceptable cost. Also, some of our the native REDCODE RAW files (R3D). The optimum shoot a recent Martina McBride performance in front time-savings for them, as well as for us. This is projects require timely turnarounds and working in solution for price and performance was the of a concert-type background on a 19'x40' screen an amazingly quick turnaround for a high-quality 35mm doesn’t allow for that, whereas working with SCRATCH suite of post tools, which offers at our studio. On set, we loaded the R3D files into video.” super high-res 4K files and a 4K data workflow resolution-independent real-time conform, construct, SCRATCH for a quick check of material. We then ran gets the job done in about 30 to 40 percent of the color grading, dailies, and finishing. Since then, it through the SCRATCH post production workflow; Doug Rice, Owner, DR&A: “When researching ways time. We can also take both RED and SCRATCH to DR&A has completed over 45 RED-SCRATCH-based showed the director and DP a preview grade; and to expand our business, we realized a 35mm the client’s location – concert tour, live performance, documentary and music video projects, including then did beauty enhancements – masking, workflow was very costly and knew margins would home, studio, etc. Our clients love the results – Martina McBride’s performance for Taillight TV. clean-up, touch-ups - using SCRATCH Scaffolds. be tight, but with RED and SCRATCH we’re able to quick turnaround and sharp image quality.” The history of DR&A (Nashville, TN) lies in providing lighting and heavy technical equipment set-ups for commercials and music videos. When walking through NAB 07, DR&A owner Doug Rice and general manager Bret Weeks saw the RED 4K camera and realized this was the means to diversify and expand their business to include a production and post production facility. Images courtesy of DR&A (Nashville): SCRATCH used as post workflow for Taillight TV/ Martina McBride “Ride” music video. Credits Client Taillight TV/ Martina McBride “Ride” music video Director Kristin Barlowe Production and Post production facility DR&A, www.griptruck.com DP Dermot Downs SCRATCH Artists Bret Weeks and Kyle Spicer Camera RED ONE™ Digital 4K Camera Post Workflow ASSIMILATE’s SCRATCH® Digital Process Solution 14 The SCRATCH X-perience
    • Peter Hjorth, well known across Scandinavia as Gearless Visual Effects, is a very busy man. His talents as a VFX supervisor, DP and colorist have seen him and his SCRATCH® digital workflow system deployed on a range of TV dramas, documentaries, corporate and music videos, as well as feature films for award-winning and influential directors of the Dogme 95 collective. Hjorth I’m not a facility, but I do what a post facility does. My product is me, plus the right tools. And if you have the right tools, like SCRATCH, you can be more flexible and effective. With SCRATCH, I can handle anything the market throws at me. ROI The decision to buy SCRATCH was a big one for me, but the return on my investment was fast. After working on just four features I broke even on the software purchase. So SCRATCH is now a profit-center, as well as one of my pleasures in life. Creative vision SCRATCH is fast and intuitive to use. The distance between your idea, or your client’s vision, and what you see on screen is very short. Being able to communicate and collaborate like this in real time often results in lots of smiles. Versatile performer I’ve been using SCRATCH in different workflows, and with all sorts of formats – HDV, RED 4K, HD and DPX scans from film. SCRATCH really showed off its grading capabilities on Troell's Magic Mirror, a 60-minute TV documentary, when I had to give a coherent look to footage originating on HDV, 35mm, 16mm, Super8 and even VHS. Problem solver On Kristian Levring’s feature “Fear Me Not” there’s a 10-minute day-for-night scene shot on HDCam set around a car. Finessing the 80 or so shots was proving too time-consuming in VFX. So I used multiple grading layers, animated masks and tracking functions in SCRATCH Scaffolds and delivered the result in a few days. SCRATCH brings power to Scandinavia Left - “Fear Me Not/Den Du Frytger”, directed by Kristian Levring, produced by Zentropa Entertainments, image courtesy of Per Arnesen; Middle/right - “True Believer”, image courtesy of Torleif Hoppe, Deborah Feingold. Peter Hjorth “My product is me” VFX review At the heart of SCRATCH is a great VFX reviewing tool that was put to extensive use on Lars von Trier’s long-awaited feature Antichrist. With different houses supplying myriad versions of shots, some 150 shots that were originated on RED cameras, were tied together and checked in SCRATCH. R&D I am very happy that I went with SCRATCH, not simply because of what it does and the price, but the support I get from the ASSIMILATE team as well. Because SCRATCH is being continually developed and updated, I know it will keep me very competitive into the future. Projects Peter Hjorth has used SCRATCH to conform and grade a corporate video for shipping giant A.P. Moller - Maersk Group, and the rockumentary “True Believer”, about legendary Danish band D-A-D, directed by Torleif Hoppe. He has also used SCRATCH for VFX review on Lars von Trier’s “Antichrist”, and day-for-night shots on Kristian Levring’s “Fear Me Not”. The SCRATCH X-perience 15
    • DAILIES | CONFORM | CINE | COLOR GRADING | FINISHING | STEREOSCOPIC 3D For your nearest sales representative or reseller please visit: www.assimilateinc.com/contact1.html www.assimilateinc.com/reseller.html