LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Prime Focus on Power & Flexibility

CreativeCOW presents Prime Focus on Power & Flexibility -- Assimilate Scratch Feature

Michael Wrightson, Prime Focus UK
Michael Wrightson, Prime Focus UK
MICHAEL WRIGHTSON, DIRECTOR OF OPERATIONS
Prime Focus UK divides its business into a number of distinct areas, including traditional post-production for broadcast and commercials, and a dedicated film division providing VFX and 2D to 3D stereoscopic conversion services using its own technology, View-D(TM).

Our first SCRATCH Lab system was initially brought in to complement our FilmLight Baselight grading systems. We found that the Baselights were increasingly being used for the task of data preparation -- conforming, file conversion, media management, etc. This was causing a major bottleneck, particularly as we were experiencing a steady increase of film work coming in as data from ARRI Alexa and RED cameras, and at the same time seeing a decrease in demand for traditional film/telecine-based work.

When I looked at SCRATCH Lab, I saw a system that had immense potential. It could deliver the efficiency savings that we required, while helping us maximise the productivity and return of investment of our "hero" suites. An added bonus was the integration with the rest of the facility, and the many uses of SCRATCH Lab that we are still discovering on a daily basis. From the moment we took delivery of our first system, it has been in use non-stop. The first SCRATCH Lab worked so well that the company shortly invested in another!


Kevin Doogan, Commercials VFX: ARRI Alexa and RED EPIC Conform
Kevin Doogan, Commercials VFX: ARRI Alexa and RED EPIC Conform
KEVIN DOOGAN, COMMERCIALS VFX: ARRI ALEXA AND RED EPIC CONFORM
Before SCRATCH Lab, we had carried out all of our conforms in Baselights. However, we're now working predominantly with Apple ProRes files from the ARRI Alexa, which are not supported by the Baselight, and so we required an alternative solution. Fortunately, SCRATCH Lab deals with them amazingly well, and provided our ideal solution. The combination of the fast processing power and the intuitive nature of the software has made it very easy to use SCRATCH Lab for the Alexa material.

We have also used it for RED camera footage, including footage from RED Epic and again, SCRATCH Lab is so easy to use with these RAW files, where you have the ability to change the colour space, ISO and so much more. SCRATCH Lab gives us complete control of all the parameters, and in real time.

Another challenge that we were faced with was making sure that the edit decision lists (EDLs) would marry up between offline through to editorial and effects. It used to take much more time before SCRATCH Lab, but now the whole process is so much easier.



EPIC, ProRes, Phantom, ARRI RAW, Panasonic MXF and DPX LOG in a single spot project at Prime Focus UK


CHRIS COUPLAND, FILM VFX
Chris Coupland, FILM VFX
CHRIS COUPLAND, FILM VFX: ANALYSIS, POWER, AND CONTROL
We're currently using SCRATCH Lab as a means to neutrally balance every scan that we receive on a show. This could be footage from RED, Silicon Imaging 2K, Phantom and other cameras. We want to prepare the images by applying basic colour and balancing, to give our artists a consistent place to start their work, with the most possible information to work with.

We work in an OpenEXR pipeline to get the most information possible out of the scans. Once we have balanced the plate we could export this again, but that would introduce another generation of compression. Instead we use tools developed both internally and with SCRATCH Lab to translate grading information directly into Nuke, so that any work uses the original scan.

SCRATCH Lab is one of the few solutions we evaluated that will allow us to see specific code values of our OpenEXR files that are below zero and above one. It doesn't just show clipping -- it gives us an idea by how much we're clipping.



ASSIMILATE SCRATCH Lab -- Industrial strength 5K workflows. Same power and price for Mac and Windows: $4995.

A shot that I'm looking at now has a peak value of 1.6. This kind of additional detail over what other systems gives us helps guide us through the choices we will need to make in order to come up with a usable neutral grade.

We simply have more control over how to address those problems with SCRATCH Lab. For example, with the Magnify tool, we can change how we want the information displayed. In addition to a zero to one range, we might choose, in a 16-bit range, values greater than 1. We want all the information we can possibly have as we take specific approaches, to know what we might gain and what we might lose across the spectrum of a shot.

We've also found that whatever problems we've had, we can talk to the people at ASSIMILATE, who have come back to us with new tools, or a LUT, or with some other kind of solution. They've been very willing to help with anything we need.


ASSIMILATE SCRATCH Lab -- Industrial strength 5K workflows. Same power and price for Mac and Windows: $4995. Virgin Media
Virgin Media "Our House" commercial, DDB UK/Academy Films, posted by Prime Focus
MICHAEL WRIGHTSON: CONFIDENCE IN SCRATCH LAB
It is most important for us to have as close a relationship with our suppliers as we do with our clients. Rather than just ordering a box and having a box delivered, we look for a continual process of support and understanding of our workflow.

That was very much what we found with ASSIMILATE. I said to them, "This is how I'd like to use it - will it fit into that workflow?" Their immediate response was, "Let's get a system in for you, so that you can see for yourself."

Seeing how well it has blended into the organisation from day one, I am confident that we will have a continual and increased requirement for SCRATCH Lab in our daily work, now and in the future.






ADVERTORIAL SPECIAL FEATURE, SPONSORED BY ASSIMILATE, www. assimilateinc.com




Related Articles / Tutorials:
Assimilate Scratch
ASSIMILATE Opens Online Store

ASSIMILATE Opens Online Store

ASSIMILATE has opened the door to the new online ASSIMILATE Store, which offers an ecosystem of tools surrounding the company’s SCRATCH Lab workflow for production and VFX dailies, as well as the entire SCRATCH product line. Users will have the opportunity to test out SCRATCH Lab before purchasing it, all on the site.

Feature
Debra Kaufman
Assimilate Scratch
Heroes of RAW Workflow

Heroes of RAW Workflow

Santa Monica’s Local Hero Post are using ASSIMILATE SCRATCH to change the future of RAW file-based workflows.

Feature
Leandro Marini
Recent Articles / Tutorials:
Cinematography
Five Cinematic Drone Shots For You To Master

Five Cinematic Drone Shots For You To Master

If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.

Tutorial
Adorama TV
Studio Design
Video, Audio, VFX, & Finishing: The Hybrid Suite Revealed!

Video, Audio, VFX, & Finishing: The Hybrid Suite Revealed!

Marco Solorio of OneRiver Media takes us into his newly built suite, which he refers to as the “hybrid suite”, combing editorial, color grading, and audio mixing in one harmonious environment. Installation affordability is this suite's undertone where today's industries are in tight financial climates. With increasing demand for clients wanting “all-in-one” services, building such a suite has proven more important today than ever before. Tips on building your own workspace bookends this in-depth article.

Feature
Marco Solorio
Blackmagic Design Announces Advanced New Blackmagic RAW Codec

Blackmagic Design Announces Advanced New Blackmagic RAW Codec

Blackmagic Design has introduced the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.


Creative COW
Adobe After Effects
Compositing Secrets Everyone Can Use: Pt. 1 - Blend Modes

Compositing Secrets Everyone Can Use: Pt. 1 - Blend Modes

Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for the best look behind the technology of blend modes that you've ever seen. This isn't just for graphics and VFX, but for video editors too -- anyone who puts anything together, and wants to learn more about HOW images combine at the most basic level, in a way that applies to every application you might use, whether Adobe Premiere Pro, Apple FCPX, Avid Media Composer, DaVinci Resolve, VEGAS Pro, and yes, graphics and VFX programs like After Effects, Motion, Fusion, Nuke, Scratch, and many more.

Tutorial
Simon Ubsdell
Business & Career Building
Luck: A True Hollywood Story

Luck: A True Hollywood Story

It’s all about who you know, right? But what if you don't know anyone? Yoni Rusnak didn't come to Hollywood until nearly 30, not knowing anyone, yet is rapidly building an enviable resume in both scripted and unscripted TV. He's found that you CAN create luck, using a formula for breaking into the business that everyone can use, in Hollywood or anywhere else.

Feature
Yoni Rusnak
Maxon Cinema 4D
Jiggling Jelly in Maxon Cinema 4D!

Jiggling Jelly in Maxon Cinema 4D!

3D and motion graphics artist Dave Bergin of CG Shortcuts shows how to create and animate jiggling jelly in Maxon Cinema 4D using C4D's Jiggle Deformer.

Tutorial
Dave Bergin
Art of the Edit
What It Takes to Edit Big TV Shows: This Guy Edits

What It Takes to Edit Big TV Shows: This Guy Edits

Sven Pape of "This Guy Edits" joins TV editor Josh Beal (House of Cards, Bloodline) for a close-up look at editing Season 2 of Counterpart, the Starz series starring JK Simmons in a dual role -- which is only the start of the challenges presented by this high-energy sci-fi thriller. Josh dives deep into storytelling techniques, workflow, teamwork, organization, and even offers some insights for people wondering how to get started as TV editors themselves.

Tutorial
Sven Pape
Cinematography
Filming In Small Spaces

Filming In Small Spaces

"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.

Tutorial
Adorama TV
MORE
© 2018 CreativeCOW.net All Rights Reserved
[TOP]