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:
NAB Show
NAB 2018: Journey, Connections, and Life-Changing Takeaways

NAB 2018: Journey, Connections, and Life-Changing Takeaways

Many people say that the best thing about the NAB Show is the people, but then their NAB conversations are mostly about products. Thanks to a grant from the Blue Collar Post Collective, longtime Creative COW member, editor, licensed drone operator, podcaster and videographer Hannah Byars-Walker set out to build an NAB experience not around this year's gear, but around the people she'd meet who could change the course of her career, if not her life. This is her inspiring story of what happened next.


Hannah Byars-Walker
Cinematography
Go Creative Show: The Cinematography of A Quiet Place

Go Creative Show: The Cinematography of A Quiet Place

Charlotte Bruus Christensen is the Danish cinematographer behind the lens of the horrifying and beautifully shot film A Quiet Place. Charlotte joins commercial director and Go Creative Show host Ben Consoli to discuss the camera, lighting, and lensing choices for A Quiet Place, its unique sound design and how show created its horrifying yet warm look.


Ben Consoli
NAB Show
The Introvert's Guide to the NAB Show, by Kylee Peña

The Introvert's Guide to the NAB Show, by Kylee Peña

If you're like most people in video production, you're a bit of an introvert, which can make trade shows a challenge. Shyness is real, and social anxiety is its own thing to be managed carefully, but are you selling yourself short before you give yourself a chance to achieve your goals? Creative COW Managing Editor Kylee Peña offers practical steps to help even the shyest creatives make the most of NAB.

Editorial, Feature, People / Interview
Kylee Peña
Could This The Real Reason Apple Wants To Ditch Intel?

Could This The Real Reason Apple Wants To Ditch Intel?

Creative COW's Tim Wilson thinks this is the real reason for Apple's announcement that they will drop Intel. Do You agree?


Creative COW
RED Camera
VFX LEGION: FX ON SCANDAL & HOW TO GET AWAY WITH MURDER

VFX LEGION: FX ON SCANDAL & HOW TO GET AWAY WITH MURDER

Shot in LA and set in D.C. and Philly, Scandal & How To Get Away With Murder’s stories unfold in virtual environments that seamlessly blend with live-action footage, defying the viewer’s eye. Here Is some of how it is done using Shotgun, Redshift, The Foundry’s NUKE, Media Shuttle, et al.


Sherri Golden
Adobe After Effects
Remove People from Moving Video in After Effects with Mocha

Remove People from Moving Video in After Effects with Mocha

Learn how to remove a person from a moving video using the Remove module of the Mocha Pro plug-in for Adobe After Effects! In one of his most epic tutorial's yet, Surfaced Studio's Tobias Gleissenberger then adds a bonus Beam Up effect using some of the great filters from the Boris Continuum and Sapphire collections.

Tutorial
Tobias Gleissenberger
Art of the Edit
Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight, ACE, has edited some of the most memorable films and television shows in the last few years. Her latest indie feature Puzzle -- which tells the story of a suburban mom who discovers a passion for competitive jigsaw puzzling -- debuted at Sundance Film Festival this year. Creative COW Contributing Editor Alee Caldwell sat down with Cate to talk about going to the fest, advocating for change, and putting together the pieces of Puzzle.

People / Interview
Alee Caldwell
RED Camera
Mercedes-Benz and Friends Make 360-Degree Stadium Halo Board

Mercedes-Benz and Friends Make 360-Degree Stadium Halo Board

A visit to the Atlanta Falcon games at the Mercedes-Benz Stadium this past football season provided an unexpected treat: the world’s largest 360-degree cylindrical LED video screen at a sports venue. At 58-feet tall, the screen, dubbed the “Halo Board” because it surrounds the inner stadium, can display 20K resolution and gives a new meaning to the term “immersive video.” The campaign was made possible through a partnership between creative companies The-Artery, The Astronauts Guild, and VR Playhouse, along with the latest technologies from RED Digital Cinema and Radiant Images.


Debra Kaufman
MORE
© 2018 CreativeCOW.net All Rights Reserved
[TOP]