August 2, 2014

ASSIMILATE AT FOREFRONT OF 3D FILMMAKING WITH SCRATCH 3D REAL-TIME DATA WORKFLOW

ASSIMILATE’s SCRATCH(r) Digital Finishing Solution is taking the lead in affordable/high-performance 3D data workflows for the filmmaking, TV, and advertising markets, worldwide.  The rapid rise of 3D digital cinema is bringing magical and high-impact experiences back to feature films, capitalizing on its wow factor for global audiences young and old. Cutting-edge advances in digital 3D technology are the catalyst for this 3D revival, enabling a depth and richness to imagery for a highly immersive viewing experience. 3D TV episodes and ad campaigns are also on the rise. For filmmakers, producers, agencies and post-production artists, SCRATCH is quickly becoming the 3D workflow of choice for its real-time, powerful, cost-effective DI tool suite that can reduce 3D post production from years to months or weeks. 

From U2-3D and Journey to the Center of the Earth 3D, to Piranha 3D, Charnobyl 2012, Pirates of the Caribbean: On Stranger Tides 3D, and Fright Night 3D, SCRATCH is being used on a global scale for a variety of 3D tasks that include conform, color grading, finishing, compositing, viewing dailies, quality control, real-time remote 3D reviews, and more. SCRATCH enables post artists to work at their speed of thought, in real-time stereo throughout the full DI process. 

Jeff Edson, CEO at ASSIMLATE: “From on-set to finishing, SCRATCH enables users to work naturally, easily, and in real time within a built-in, streamlined, 3D data workflow to create a high-quality master for several deliverables. For 3D productions, with complex imagery and double the files, this has a dual benefit for filmmakers, agencies, and post houses:  a significant leap forward in efficiency and productivity, and more time for creativity, experimentation, and fine-tuning.”

ASSIMILATE AT FOREFRONT OF 3D FILMMAKING WITH SCRATCH 3D REAL-TIME DATA WORKFLOW

SCRATCH 3D color grade for Nau Clothing; image courtesy of Merge Group

What SCRATCH 3D Users Are Saying

“Piranha 3D” (2010) – Grant Boucher, award-winning VFX pioneer and founder of inner-D (LA): “A real-time data workflow like SCRATCH enables a significant time savings for a 3D pipeline, which has double the shots, all the complex imagery, and the convergence of left and right eyes. Even during the finishing process we were able to make convergence changes or color adjustments, and again working in real time was invaluable. SCRATCH is now the center point of everything we do.”

“Les Krostons” (2010) – Elodie Ly-tri, 3D data manager at Duboi (Paris): “A key advantage of SCRATCH is the built-in workflow for 3D stereo. So, along with being able to review L and R eyes individually, you can also play back the converged picture. Using the SHOT FRAMING tool set, I could adjust the X and Y offset to change the convergence of a shot, subtly scale the L or R to remove any black edges within the frame, and also correct any vertical or horizontal disparities. Grading for stereo is straightforward too. Gilles Granier, one of our in-house color graders, made color changes to the left eye through SCRATCH Scaffolds, and could apply them to the corresponding shot, or shots, in the right eye by a single keystroke.”

3D Armani Exchange A/X 3D fall ad campaign (2010) – Mark L. Pederson, Offhollywood CTO and co-founder (NYC): “It was clear to us that an all-data workflow is the future of films, TV, and commercials, whether 2D or 3D, so we got on board with RED and SCRATCH as early adopters. We chose SCRATCH for its streamlined workflow, stability, data management tools, and real-time color grading and finishing for 3D, 4K, 2K, and HD. It’s the ideal tool for working with native RED R3D files, and especially RED 4K stereoscopic 3D. The ASSIMILATE guys are continually updating the features within SCRATCH, so it remains a rock-solid tool and very relevant to us well into the future.” Offhollywood is currently working with Discovery on 3D episodes of The Haunted and Ghost Lab.

“Charnobyl 2012″ 3D (2011) – Martin Kryjom, Divizion director and chief colorist (Poland):  “SCRATCH is perfect for 3D stereo as its capabilities for viewing, adjusting convergence, equalizing the grade on the stereo pair, and applying the master grade, are all built in.” In post production now, 3D horror flick “Charnobyl 2012,” directed by Patryk Vega, is one of Poland’s biggest-budget productions.


Percy Fung, founder of Digital Magic Hong Kong (August 2010): “The future of filmmaking and media entertainment is digital cinema, and we are going to see tremendous growth in 3D productions over the next few years.  The advent of high-resolution digital cameras and real-time data workflows like SCRATCH that include powerful tool suites are making this possible.”


“Black Eyed Peas” – Brian Daly, president at Mob Scene Creative + Productions (Beverly Hills): “We developed a workflow for Samsung’s Black Eyed Peas 3D promotional material that included 3D post production on the SCRATCH Digital Finishing Solution. Samsung knew exactly what they were looking for in 3D, and SCRATCH was able to deliver. During a grading session, adjustments were made on the fly, in real time. Working in real time is vital in 3D post, especially when the content is a live multi-cam situation and any adjustments need to happen instantaneously.” 

“Archangel” (2009), Bonnaroo Music Festival, Nau clothing – Jerome Thelia, founder, and colorist and compositor at Merge Group (NY): “High-end 3D means lots of very large files, with a complex data-based workflow, conform, and color grading at a high-quality level – all of which would not be possible without a real-time system like SCRATCH. A real-time workflow is especially vital to the creativity and productivity of a project when working in 3D, and SCRATCH delivers exactly that in a streamlined digital pipeline.”

“My Bloody Valentine 3D” (2009) – Brian Gaffney, vice-president/general manager of Technicolor Creative Bridge (LA): “For My Bloody Valentine 3D, we used SCRATCH as a versatile support tool for four different applications within our 3D workflow…virtual telecine, edit module, quality control, and visual effects. At first glance, tackling a 3D project appears to be daunting and that’s why we opt for best-of-breed tools like SCRATCH. SCRATCH is a powerful stand-alone workflow in itself, but it also works seamlessly, as in this case, within any digital workflow as defined by the project. Its ability to support any format – HD, SD, 3D, RED 4K, 35mm, 16mm – and its depth of functionality make it a highly used and versatile tool within our workflows.”


“Journey to the Center of the Earth” 3D (2008) – Jonas Thaler, VP post production at AFG/Walden Media (LA):  “When researching a 3D digital workflow, we examined several scenarios that were compelling but none proved to have the flexibility, 3D features, and price point that we needed to put this together on a project basis. SCRATCH was the only system that met our criteria for 3D, plus it included an extensive feature set for the DI process. Our biggest concern for SCRATCH was the size of this project. There was a huge amount of footage and content from several sources, and we had roughly 800 visual effects, which means multiply by two for the number of files. This was an ambitious project for a cost-effective software tool that we set up ourselves, but SCRATCH performed amazingly well.”


Euro Disney 3D Short (2008) – Arnaud Paris, co-founder and stereographer at Sysmic Films (Paris): “It was very easy to adjust the camera alignment in SCRATCH. The resize, offset and angle controls did all that in real-time on the dual R3D streams. In terms of convergence you can’t predict what the best solution is until you actually watch the result in 3D. The real-time, interactive 3D visualization that SCRATCH gave us was fundamental in helping us to design and then finesse the experience.”


SCRATCH Real-Time 3D Workflow
SCRATCH v5.1 includes a host of product features that propel creative pros — broadcasters, filmmakers, studios, post facilities, creative teams, and agencies — to work at their utmost levels of creativity.  SCRATCH v5.1 offers the most advanced, cost-effective, real-time digital workflows for 3D, RED MX and beyond, RED MX-3D, ALEXA ARRIRAW, HD/SD, film, DPX, AVID MXF, or any mix of formats.  SCRATCH v5.1 includes a robust core feature set with real-time data management, review/playback, conform/editorial, color grading, compositing, finishing, and final mastering to any format.


SCRATCH v5.1 includes 3D-specific features for enhanced convergence, scaling, and versioning. Post artists are able to work in real-time 3D at all times with direct output to any stereoscopic display system.  Additionally, ASSIMILATE exclusively offers the 3ality 3Play Pro-S for facilities seeking a flexible, professional quality stereo-review system. ASSIMILATE also offers the first 3D Post Remote-Review Network, which combines SCRATCH, the 3aility 3Play Pro S, and the Telairity H.264 Encoder to enable the real-time review of 3D files among clients, talent teams, and post artists, anywhere in the world.


See SCRATCH at IBC 2010
At IBC 2010 at the RAI in Amsterdam, September 10 – 14 (Stand 7.K01), ASSIMILATE(tm) is featuring its state-of-the-art SCRATCH(r) Digital Finishing Solution in four major demonstrations on the show floor. The demos will feature complete SCRATCH workflows for stereoscopic 3D, advanced compositing, digital intermediate (DI) and finishing, as well as the first 3D remote-review network over the internet for real-time review of 3D files among clients, directors, DPs and post artists anywhere in the world.


Price and Availability 
Contact ASSIMILATE or your local reseller for a demo, pricing, and configurations of the SCRATCH v5.1 Digital Finishing Solution.  For a list of contacts for ASSIMILATE direct sales and resellers, see www.assimilateinc.com. 


About ASSIMILATE
ASSIMILATE(tm) is transforming post production of visually complex imagery projects with its SCRATCH(r) Digital Finishing Solution, the essential mix for a real-time, resolution-dependent data workflow. SCRATCH v5.1 moves creative artists into Post 2.0, the next-generation of digital post production tools to achieve the highest level of quality in digital cinema imagery. Along with data management, SCRATCH features a rich set of DI and post tools for working in any combination of 3D, RED MX, RED MX3D, ARRIRAW, HD/SD, and film. ASSIMILATE is committed to empowering the broad spectrum of creative and post-production professionals with state-of-the-art, easy-to-use, data-centric solutions that deliver optimal price/performance. To learn more about SCRATCH, see www.assimilateinc.com 

 
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ASSIMILATE Expands Sales and Support at London Office

Five years after opening its UK/European headquarters in London, ASSIMILATE(tm), developer of the SCRATCH(r) Digital Finishing Solution, is expanding its sales and service operations to better serve its rapidly growing customer base of digital cinema professionals — filmmakers, studios, post facilities, broadcasters, creative teams, and agencies – throughout the UK and Europe. ASSIMILATE has relocated to new offices in the Soho area of London to accommodate an increase in technical support staff, as well as an advanced SCRATCH v5.2 finishing suite that offers real-time digital workflows for 3D, RED MX and beyond, RED MX-3D, ARRIRAW, HD/SD, Film, DPX, AVID MXF, or any mix of formats. 
ASSIMILATE’s Soho technical team includes a colorist, trainer, DI specialist, and 3D consultant Martin Parsons of Image Eyes, www.image-eyes.com. With more than 20 years of working in high-end post-production for film and TV in London, Parsons’ expertise is developing efficient and streamlined digital workflows from on-set through to post production and on to the big screen, with a specific focus on 3D capture and post. “Working with the ASSIMILATE team on the SCRATCH 3D features and real-time workflows has been an exciting opportunity,” says Parsons. “They’re at the bleeding edge of 3D digital post, giving their worldwide user base a huge creative advantage.”

To complement ASSIMILATE’s direct sales and support office in Soho, ASSIMILATE has appointed MediaPros, www.mediapros.co.uk, as their reseller partner for ASSIMILATE’s RED MX solutions. This includes RED Rocket and ASSIMILATE’s ROCKET FUEL bundle, which includes the tools for real-time ingest, conform, delivery and output of RED ONE(tm) MX digital camera material.

ASSIMILATE Expands Sales and Support at London Office

“The expansion of our London office underscores our commitment to customers throughout the UK and Europe to provide responsive and optimal service and support,” states Jeff Edson, CEO at ASSIMILATE. “Always with an eye to outstanding creativity, the UK and Europe are high-growth markets for digital cinema, and particularly 3D productions. SCRATCH provides the powerful digital tools these creative professionals need to break new cinematic ground, and to do so cost effectively within a streamlined, real-time workflow.”


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Strong 3D Focus
ASSIMILATE is working with several industry partners, such as Telairity and 3ality, to bring innovative and useful tools to the entertainment communities that can simplify their workflows, increase their productivity, and enable more time for experimentation in the creative process.

With SCRATCH v5.2 ASSIMILATE continues its mantra for real-time, streamlined workflows with 3D-specific features for enhanced convergence, scaling, and versioning. Post artists are able to work in real-time 3D at all times with direct output to any stereoscopic display system.  Additionally, ASSIMILATE exclusively offers the 3ality 3Play Pros-S for post facilities seeking a flexible, professional quality stereo monitoring system. 3Play Pro-S enables playback and review of full-resolution HD stereoscopic material on a variety of consumer 3D monitors, as well as non-3D monitors using a variety of Anaglyph formats.

Another 3D innovation, ASSIMILATE(tm) and Telairity(tm) have exclusively partnered to offer the first 3D Remote Network for 3D post production, which enables the immediate exchange of 3D files over the internet for real-time or off-line reviews among the filmmakers, post houses, and other talent teams – anywhere in the world. The transit of massive 3D files via this remote network results in unprecedented time and budget savings. Additionally, post facilities can expand their client base, and clients can hire post houses without distance being a factor.

SCRATCH(r) v5.2 Digital Process Solution
ASSIMILATE’s SCRATCH(r) v5.2 Digital Finishing Solution(tm) is the latest version of Post 2.0 generation digital post-production tools that enables users to achieve the highest levels of quality in digital cinema imagery.  SCRATCH v5.2 adds advanced finishing and compositing, and 3D-specific features, such as convergence, scaling, and versioning to its real-time data workflow. Whether an imaging project is 3D, RED MX, RED MX-3D, ARRI ALEXA, HD/SD, DPX, AVID MXF, film, or any mix of formats, SCRATCH enables your workflow of choice. SCRATCH v5.2 includes a robust core feature-set with real-time data management, review/playback, conform/editorial, color grading, compositing, finishing, and final mastering.
SCRATCH is a streamlined, real-time, easy-to-use, cost-effective, resolution-independent, end-to-end pipeline for pre-and-post-production.  A broad spectrum of creative and post artists benefit from the bottom-line advantages of the SCRATCH digital workflow: Increased speed and productivity, ability to easily experiment, high quality output to numerous formats, and an up-tick in profits.

UK/European Headquarters Information
The ASSIMILATE UK/European Headquarters provides sales and technical support for SCRATCH customers throughout the UK and Europe.
ASSIMILATE Europe Ltd.
Third Floor, 179 Wardour Street
London W1F 8WY
Tel: +44 207 534 3426
Fax: +44 207 855 3671

About ASSIMILATE
ASSIMILATE(tm) is transforming post production of visually complex imagery projects with its SCRATCH(r) Digital Finishing Solution, the essential mix for a real-time, resolution-dependent data workflow. SCRATCH v5.2 moves creative artists into Post 2.0, the next-generation of digital post production tools to achieve the highest level of quality in digital cinema imagery. Along with data management, SCRATCH features a rich set of DI and post tools for working in any combination of 3D, RED MX and beyond, RED MX-3D, ALEXA ARRIRAW, HD/SD, film, DPX, AVID MXF, or any mix of formats.  ASSIMILATE is committed to empowering the broad spectrum of creative and post-production professionals with state-of-the-art, easy-to-use, data-centric solutions that deliver optimal price/performance. To learn more about SCRATCH, see www.assimilateinc.com 

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