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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Sinefekt Istanbul Grows DI Business with Versatility of SCRATCH

Come to Istanbul, where Sinefekt, one of the biggest post production houses in Turkey uses ASSIMILATE’s SCRATCH(r) Digital Finishing Solution to grade almost every feature film, commercial, music video and documentary that passes through its facility. Along with having a Kodak Imagecare-accredited film lab, telecine, offline and online editing, VFX, CG animation and SCRATCH DI color grading and finishing, the facility also rents RED ONE(tm) cameras to local and regional clients. Although the RED/SCRATCH connection began as a key attraction, SCRATCH has proven it has greater pulling power among local and international clients, as Dilek Er, head of color grading, explains.

Why SCRATCH: We saw SCRATCH at IBC a few years ago — just when the RED ONE camera systems were launching — which we had planned to purchase. SCRATCH was the best option for handling 4K R3D files, and it still is. RED cameras are very popular in Turkey, and we work on RED-originated features and commercials a lot. But being resolution independent, SCRATCH has proven to be more versatile. It has very good DI tools to complete jobs from start to finish, and with an amazingly affordable price point we can offer clients more competitive rates.

Sinefekt Istanbul Grows DI Business with Versatility of SCRATCH

Scene from Pegasus Airlines ad; image courtesy of Sinefekt, Istanbul

Projects: We attract filmmakers from Turkey, and our freelance colorist, Ester Nagy, did a SCRATCH DI on R3D RED material for the historical comedy “Seven Husbands For Hurmuz”, directed by Ezel Akay. I did the DI for another film, the thriller “Sound”, directed by Umit Unal. But we are also now luring international filmmakers from Egypt, Dubai, Hungary, Slovenia and Russia.

More projects: We work with local production companies and advertising agencies on ads for brands like Nike, Samsung and Pegasus Airlines. Recently I graded a commercial in SCRATCH for Bakcell, the cellular network operator in Azerbaijan. What all our clients discover is that the quality they get from SCRATCH is great from start to finish, whether they bring in DPX, 4K RED RAW, or footage from newer cameras like the ARRI Alexa, or even DSLRs like the Canon 7D and 5D.

Sinefekt Istanbul Grows DI Business with Versatility of SCRATCH

Scene from “Seven Husbands for Hurmuz”; image courtesy of Sinefekt, Istanbul

LUTs: Cinespace is the heart of our color management, and works well with SCRATCH. Commercials and music videos typically don’t need dramatic grading, but feature films are different. I often do a lot to finesse or enhance the look intended by the cinematographer. We grade feature films with SCRATCH at 2K or 4K, in real-time, using a JVC DILA projector and a 3m-wide screen, where we emulate the film print with our custom 3D LUTs. Our set-up means that the director, DP, and editor know what they see on the screen is what will end up on film.

Key features: SCRATCH is simple to learn. It’s very quick and interactive to work with too, and integrates well with the Tangent Wave Control Panel we are using. I use the Trays capability a lot, especially when grading versions of commercials because it allows me to compare shots, and copy and paste grades between sequences and versions.

 
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Grading features: On feature films, the SCRATCH Matrix provides two toolsets – the Color toolset for primary grading, and Scaffolds for secondary color grading. For primary grading, once I am happy with a grade on a shot, I copy and paste that grade onto other shots in a timeline in the CONstruct module. Scaffolds is excellent when I need to work on areas of the picture that need special treatment. I can use each Scaffold differently – to key a skin color, add a defocus or a vignette, and track a grade through a shot – and can choose which Scaffold to copy between shots. These are very useful and practical features that I use a lot.

In the workflow: We use Avid Media Composer for offline and Autodesk systems for online editorial. SCRATCH works perfectly well with EDLs coming from Avid and provides DPX files for our Autodesk systems.

Support: We run our SCRATCH on a REDboxx2 system, with an Nvidia Quadro FX 4600 SDI card, which is integrated into our custom-built NAS so that we can share media between editorial, grading and VFX departments with ease. We get excellent e-mail support from ASSIMILATE on the rare occasions that we’ve ever encountered any problems, and the hardware is well-supported by Boxx.

Satisfaction: As a colorist, I’m very happy working with SCRATCH because it gives me a lot of capability for grading and finishing, and it’s really easy to use. SCRATCH is a very useful color grading and finishing system.

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SCRATCH 3D Workflow Helps “Les Krostons” Become Masters of the Universe

Les Krostons” want to take over the world and their impish intentions were recently revealed in a five-minute VFX-laden 3D stereo teaser, directed by Frederick Du Chau through Le Studio d’Imagination, and screened at the 2010 Cannes Film Festival. Duran Duboi in Paris harnessed the powers of ASSIMILATE’s SCRATCH(r) Digital Finishing Solution in a streamlined file-based 3D stereo workflow, from set to post production, to DCP deliverables.

“Les Krostons” is based on the 1968 comic-book creation devised by Arthur Piroton and Paul Deliège.

Elodie Ly-tri, 3D data manager at Duboi in Paris, a subsidiary of Quinta Industries group, was responsible for managing the project under Eric Martin’s supervision, post production manager at Duboi. Ly-tri explains here how SCRATCH proved to be an essential tool in their tapeless, end-to-end, data-centric DI mix.

Ideal 3D DI Tools: “Les Krostons” is a great showcase for SCRATCH’s post capabilities in a number of areas – efficient data workflow, quality control, conforming, 3D stereo image manipulation, DI grading, finishing, and deliverables.

Why SCRATCH? It was a natural choice. We’ve been working with SCRATCH as the heart of our DPX and R

SCRATCH 3D Workflow Helps Les Krostons Become Masters of the Universe

SCRATCH 3D finishing for “Les Krostons image (c) Le Studio d’Imagination and Quinta Industries and DuboiED workflows for nearly four years, and have used it to conform and grade many projects, such as “The Ghostwriter”, “My Own Love Song” and “Lucky Luke”. We’re close to ASSIMILATE’s R&D team, and we have been working on the development of MXF within SCRATCH. We knew SCRATCH was used successfully to make 3aility’s “U23D”, and after ASSIMILATE proved its 3D capabilities to us, we were convinced it was the right tool for “Les Krostons”.

Workflow: “Les Krostons” was shot in 1920 x 1080p with a Panavision Genesis and a mirror rig provided by Binocle. The 4:2:2 capture was on Panavision’s SSR, with this footage offloaded to a Codex Portable recorder, which also directly captured the 4:4:4 VFX shots. Every night we received 40 minutes of dailies per eye, on a Codex DiskPack, and we offloaded the DPX files to our SAN. We usually received the dailies at 2:00 a.m., and we were ready to do separate quality control reviews of the L and R eyes, as well as the converged picture in SCRATCH by 6:00 a.m. This was incredibly fast! By mid-morning we were able to provide the director, DP, and stereographers with a report regarding focus, lenses, color and pixel issues.

Managing Data: After pre-grading in SCRATCH, we exported the shots as Avid stereo-group DNxHD36 MXF files, and sent them to the edit room in LA. To make it clear and easy for them, we managed all the relevant metadata in SCRATCH, renaming shots to each slot where we might apply a cut, and adding the reel IDs as required. SCRATCH can present the files either side-by-side or over-and-under, and they wanted over-and-under.

SCRATCH 3D Workflow Helps Les Krostons Become Masters of the Universe

SCRATCH 3D finishing for “Les Krostons image (c) Le Studio d’Imagination and Quinta Industries and Duboi

Conforming & Comp’ing: What’s really cool about SCRATCH is that I had groups of CONstructs with all the DPX dailies and one with the DPX conforms – all within the same project. Having access to all the DPX files, at any time, made it very easy for me to not just conform, but to also send shots to the VFX team. Our comp’ing team uses SCRATCH with shared storage, so I could prepare a CONstruct with the VFX shots, send that over, and they could simply link to the media and export as required. When shots were completed I simply dropped them back onto my timeline.

XML Support: This is one of SCRATCH’s most powerful features. On “Les Krostons”, we used XML scripts to optimize the flow of files between network locations for the compositing team. We also used XML to prepare the daily QC reports for the production company, sent from SCRATCH as a PDF. With the new HTML support allowing us to publish to the web, SCRATCH provides ever more efficient ways to interact with the production team during post.

3D Strengths: A key advantage of SCRATCH is that it has a 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.

Deliverables: For marketing purposes we created 3D and 2D DCP masters of the “Les Krostons” teaser in SCRATCH, with 2.35:1 for the 2D and 1.85:1 for the 3D stereo. The sheer ability of SCRATCH to have the footage available in CONstructs in the same project, and to conform, grade and crop images as appropriate, meant that we created these really fast in only two sessions.

Working Relationship: We’ve worked closely with the ASSIMILATE team for several years. They are always very helpful, and they listen to our suggestions, which I think makes SCRATCH a stronger product because of this client-friendly approach. SCRATCH is open; easy to operate; works well with Avid; is very good for managing DPX files and associated metadata; and offers powerful XML specificity. It’s strong on conforming, managing versions, color grading, finishing, and 3D, and handles new camera formats, such as RED and ARRI Alexa. What more could you want?

 
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“Piranha 3D” Screams for SCRATCH at inner-D

The summer-horror flick “Piranha 3D”, starring Jessica Szohr, Richard Dreyfuss, and Elizabeth Shue, literally screams for thrills and chills as teens combat man-eating fish during Spring Break. inner-D, a post-production house that specializes in 3D conversions and DI, recently wrapped up the finishing touches for the film’s August 20 premiere with the help of ASSIMILATE’s SCRATCH(r) Digital Finishing Solution.

Grant Boucher, award-winning VFX pioneer and founder of inner-D, and his team of post artists managed the 35mm 2D-to-3D conversion process, as well as the first pass color grading and finishing for director Alexandre Aja’s “Piranha 3D” (2010), a Weinstein Company production.

Boucher explains, “We formed inner-D specifically for the 3D conversion and post production of ‘Piranha 3D’ and the investment has paid off for us. The film was our anchor project, and since then we have perfected a proprietary and innovative 2D-to-3D conversion process — reali-D(tm) Stereoscopic Conversion — that results in realistic 3D characters and worlds, while eliminating the eye strain and headaches for viewers. We designed and developed reali-D(tm) from the ground up to represent a realistic 3D universe that is comfortable to watch for long periods of time, and thus becomes thoroughly immersive to audiences.”

Piranha 3D Screams for SCRATCH at inner-D

SCRATCH post of “Piranha 3D;” image courtesy of inner-D

Boucher adds, “3D is our focus. We are battle-tested and set up with a high-performance, SCRATCH 3D real-time data workflow.  We’re ready to meet the demands of these complex imagery projects.”

The summer-horror flick “Piranha 3D”, starring Jessica Szohr, Richard Dreyfuss, and Elizabeth Shue, literally screams for thrills and chills as teens combat man-eating fish during Spring Break. inner-D, a post-production house that specializes in 3D conversions and DI, recently wrapped up the finishing touches for the film’s August 20 premiere with the help of ASSIMILATE’s SCRATCH(r) Digital Finishing Solution.

Grant Boucher, award-winning VFX pioneer and founder of inner-D, and his team of post artists managed the 35mm 2D-to-3D conversion process, as well as the first pass color grading and finishing for director Alexandre Aja’s “Piranha 3D” (2010), a Weinstein Company production.

Boucher explains, “We formed inner-D specifically for the 3D conversion and post production of ‘Piranha 3D’ and the investment has paid off for us. The film was our anchor project, and since then we have perfected a proprietary and innovative 2D-to-3D conversion process — reali-D(tm) Stereoscopic Conversion — that results in realistic 3D characters and worlds, while eliminating the eye strain and headaches for viewers. We designed and developed reali-D(tm) from the ground up to represent a realistic 3D universe that is comfortable to watch for long periods of time, and thus becomes thoroughly immersive to audiences.”

Piranha 3D Screams for SCRATCH at inner-D

Boucher adds, “3D is our focus. We are battle-tested and set up with a high-performance, SCRATCH 3D real-time data workflow.  We’re ready to meet the demands of these complex imagery projects.”

The Game Plan for “Piranha 3D”
“The director and DP John Leonetti planned ahead for the shoot, knowing they would do a 2D-to-3D conversion. For example, the underwater scenes were shot full frame, which gave more latitude in repositioning for 3D,” says Boucher. “We also talked with the director before we started regarding the issues associated with a 3D conversion, as well as the data workflow.”

Grant explains, “As is standard for all stereoscopic conversions, we first took apart the film in 2D piece by piece (in our case, with precise rotoscoping); separated them into layers by depth; and then every layer was converted to a 3D representation. Once the material was in 3D, we generated new left and right eyes. In SCRATCH, we brought in the EDL from our Avid suite, and then reviewed all the 3D material in context to make sure the depth was accurate, shot by shot, and then across scenes and reels.

SCRATCH was a new color grading paradigm for us, but we quickly adapted, working with the left eye and then the right eye, and verifying the consistency of the foregrounds and backgrounds, as well as the overall look and feel. We reviewed the dailies in real-time with the DP, director, and client executives in our screening room, which was a huge benefit to all involved. They were able to immediately see the quality of the work, make changes on-the-fly, experiment, and see the results instantaneously before making final approvals.”

“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,” says Boucher.

Boucher notes, “On a production like ‘Piranha 3D’ there were a lot of ‘gotcha’ moments, right up until the final days. Edits were being made by the clients while we were in color grading, but fortunately SCRATCH could conform a new 5-reel Avid edit, uncompressed, in a day. As the lead delivery vendor for the entire film, we also were working with hundreds of VFX shots from several sources for visual effects above and below the water. No one had ever done this before, and since impossible is not in our vocabulary, we jumped to the challenge of figuring out what would give the best solution. We made it happen…and on a very lean budget.”

Real-time 3D Data Workflow
“Though 3D is on the rise, filmmakers are still working under tight budget constraints,” says Boucher. “To be competitive, we need to offer cost-effective, yet high-quality, streamlined 3D workflows. For the major visual effects companies I’ve built in the past, I’ve had very positive experiences with PC-based, GPU-accelerated solutions. So we build our own high-performance RAID storage systems. Fortunately, when we agreed to take on the role of conforming the final delivery before everything went to Technicolor, a member of the client’s post-production team had previously used SCRATCH and recommended it for its smooth workflow and DI tool suite. We put SCRATCH through a few 3D tests and it just nailed it.”

“SCRATCH is now the center point of everything we do,” says Boucher.  “We’re impressed, but so is the production company, from senior management on down.”

“We also use Avid for editorial, and off-the shelf programs like After Effects and Nuke because of their broader pools of highly skilled talent,” says Boucher. “Since all of us are experienced visual effects artists, our biggest strength is in our experience and talent.  And the tools we use are chosen because they maximize these assets.”

Final mastering and film out for “Piranha 3D’” was done at Technicolor. inner-D masters their own Digital Cinema Packages (DCP) for client dailies and delivery to theaters when needed.

Next Up
“We’ve done a number of tests for other big 3D films, and actively pursuing future projects,” says Boucher.  “The 3D market is heating up for high-quality stereoscopic conversions, and why not?  If an audience can have a natural, highly immersive experience, 3D is a truly compelling value-add to any film.” 

“We are now set up to take on multiple 3D projects, large or small,” says Boucher. “We can work with any format from film to native RED and ARRIRAW. Using SCRATCH at the heart of our 3D pipeline means no changes to whatever workflow the client has chosen – another cost savings to our clients.”

Boucher adds, “Over the long term, 3D done correctly and respectfully provides the opportunity to revive some of our great films of the past and give them renewed life. Films like ‘Gone with the Wind,’ ‘Alien’, ‘Star Wars’, and ‘Lawrence of Arabia’ would be amazing in 3D.”


 
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