SCRATCH Brochure

The SCRATCH Digital Process Solution™

SCRATCH® Highlights

Determine your workflow

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.

PAGE 4 TECHNICOLOR CREATIVE BRIDGE USA >> SCRATCH SUPPORTS 3D WORKFLOW FOR MY BLOODY VALENTINE 3D

PAGE 5 20TH CENTURY FOX USA >> X-MEN ORIGINS: WOLVERINE STREAMLINED WITH SCRATCH

PAGE 6 SONIC FILMS UK >> MASTERS THE RED 4K FORMAT WITH SCRATCH

PAGE 7 ENCORE MEDIA USA >> SCORES WITH THE SCRATCH-RED 4K WORKFLOW

PAGE 10 8MM PRODUCTIONS INDIA >> CHANGES FILMMAKING IN INDIA WITH THE SCRATCH-RED 4K WORKFLOW

PAGE 11 CAVIAR BELGIUM >> SCRATCH IS A DELICACY THAT MANY SAVOR AT CAVIAR

PAGE 12 KATABATIC USA >> SCRATCH AND RED PROVIDE THE CREATIVE EDGE

PAGE 13 MASTERSHOT POLAND >> SCRATCH HITS THE 4K TARGET AT MASTERSHOT STUDIO

PAGE 14 DR&A USA >> GO COUNTRY WITH THE SCRATCH-RED WORKFLOW

PAGE 15 PETER HJORTH DENMARK >> SCRATCH BRINGS POWER TO SCANDINAVIA

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

2 The SCRATCH X-perience

Now enjoy The SCRATCH X-perience Edition IV

Enjoy all the case studies at www.assimilateinc.com/case.html

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

DAILIES | CONFORM | CINE | COLOR GRADING | FINISHING | STEREOSCOPIC 3D

© Copyright Fuerza Bruta. Image courtesy of HD Argentina. © Copyright ASSIMILATE, Inc. 2009

Image courtesy of Philips Design/Periscope

COMPANY Het Raam Digital Cinema, The NetherlandsPROJECT 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 TEAMWritten by Sjebnem Aydeniz Producer Periscope/Marte ElingsDirector 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

“Why SCRATCH?Because it itches..!”

Aviv YaronCinesite

“SCRATCH reliability, support efficiency -

this is why SCRATCH works for us”

Digital Factory FranceFrederic WarnotteTechnical Manager

THE CREATIVE WORLD OF SCRATCH

COMPANY Kincine, SpainPROJECT The Art of Stealing

Feature film shot on Super 16mm. Scanning: dpx 2k

SCRATCH PROCESSESNegative cleaning, Conforming, Grading, Mastering - HDCAMSR, HDCAM and dpx

CREATIVE TEAM Colorist Oscar Martínez DoP José António Loureiro A.I.P

COMPANY Hollywood-DI, USAPROJECT The Vicious Kind, Sundance Film Festival Entry 2009

Shot on 35mm 3-Perf. Edited in FCP Prores OfflineOnline/Color in ASSIMILATE SCRATCH

CREATIVE TEAM Director/Writer (screenplay) Lee Toland Krieger Producer Cinematographer Bradley Stonesifer Colorist/Online Editor Aaron Peak DI Supervisor Neil Smith

COMPANY 12 Forward USAPROJECT 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 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.

CREATIVE TEAM Director Tim McCanlies Writer Tim McCanlies Producer Seth Caplan Editor Mark Coffey DI Editors Terry Wester, 12 Forward Colorist Omar Godinez, 12 Forward

COMPANY HD Post, FinlandPROJECT Helppo Elämä (Easy life)

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.

CREATIVE TEAMProduced by Roope Lehtinen, Mikko Pöllä and Tarja Ahava (Moskito Film)Director Veikko Aaltonen DoP Jari Mutikainen Editor Jari HeikkinenSCRATCH Colorist Jussi Myllyniemi

3The SCRATCH X-perience

Image courtesy of Texas Avenue Films/12 Forward

Image courtesy of 72nd Street Productions, Candleridge Entertainment and Hollywood-DI

Image courtesy of Moskito Television inc./MTV3

Image courtesy of Stopfilm & Galavis Film

Mike Seymour

“Why SCRATCH? It is the Swiss army knife of digital workflow production tools”

My Bloody Valentine Theatrical Art Poster Jensen Ackles stars as ‘Tom Hanniger’ in

My Bloody Valentine 3D. Photo credit: Michael Roberts

Credits

Produced by Lionsgate Director Patrick Lussier DP Brian Pearson Format 3D stereoscopic

Camera RED ONE™ Digital 4K Camera, provided by Paradise FX Back-end Post Production Technicolor

Hollywood Post Post Production Tool SCRATCH® Digital Process Solution SCRATCH artists Matt Purse,

Patrick Bellanger, and Ernie Camacho Workstation Globalstor Extreme DI

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)

Lionsgate turned to Brian Gaffney (Vice

President/GM) and Dan Lion (Vice President

Marketing & Sales) at Technicolor for the

back-end post production, requiring dailies in

both 2D and 3D sent to their offices. As early

adopters of SCRATCH, Gaffney and Lion knew it

could easily handle a variety of input formats,

including the RED 4K digital files (native

REDCODE RAW files), and output to your format

of choice.

Brian Gaffney Technicolor Creative Bridge: “For

My Bloody Valentine 3D, we used SCRATCH as a

versatile support tool for four different

applications within our 3D workflow.”

Virtual Telecine: For all dailies, we loaded the

RED R3D files from Paradise FX onto our

Globalstor server running SCRATCH, and

recorded in real time to HDCAM SR with custom

LUTS applied.

Edit Module: We could check that the content

was in sync at the beginning of a take. Due to

the design of the 3D camera rig, one camera

would continue to roll for a few frames after the

stop record triggered and could get out of

phase. Within SCRATCH construct, the artist could

check the left eye and right eye, change the

orientation – edit, flip/flop, trim – to get the two

eyes properly aligned and ready for the transfer

to HDCAM SR.

Quality Control: We did a lot of the QC up front,

using LUTs brought into SCRATCH for the color QC

to ensure the material was properly matched and

the TC and ALE files matched.

Visual Effects: In support of VFX, we would

commonly be asked to render out 4K DPX

background plates to allow the compositors to

pan and scan the plate behind the 2K

foreground to achieve the best visual impact.

The DI artist could ask for the timecode or

filename of any original R3D file for rendering

out as requested, and since SCRATCH tracks all

of this metadata it was very easy to support

these requests.

Gaffney adds, “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.”


The much anticipated X-Men Origins: Wolverine

(May 2009), starring Hugh Jackman, is now in post

production at 20th Century Fox studios under the guidance

of Ted Gagliano and Chris Dowell.

SCRATCH streamlines X-Men Origins: Wolverine

Along with supervisor Wil Fluckey, Chris

knew from the start of production that

Wolverine was the perfect film to utilize

the advantages of SCRATCH in the post

production VFX data pipeline.

According to Wil, SCRATCH software is

being used by the studio’s VFX

supervisors, Pat McClung and Greg

Baxter, and their teams to handle and

manage all the 2K visual effects (VFX)

files for Wolverine that have been

submitted by numerous visual effects

houses around the globe.

The 2K files are loaded onto a server

and then ingested by a SCRATCH mobile

system that is calibrated with the

vendor-supplied 3D LUT. The artists use

the mobile SCRATCH system wherever

needed within the studio - for example,

the cutting room or VFX session, etc - for

evaluation, creating sequences, and

playback from 2K DPX files. A permanent

SCRATCH system resides in a Fox Studio

screening room, where the same files are

used for the real-time 2K reviews by the

studio team.

Wil Fluckey, 20th Century Fox Studios

“Working with digital files is better than

working with film because the project

moves much faster through post

production, we’re able to skip the

traditional time-consuming film out/print

process, and we still get quality results

instantly. In heavily intensive VFX films,

time is of the essence so SCRATCH is a

very useful tool for us. All day long our

teams put SCRATCH to the test. I can’t

imagine doing another big VFX

film without SCRATCH.”

Director Gavin Hood

Studio 20th Century Fox

VFX Post Production SCRATCH® Digital Process Solution

Credits

X-Men Origins: Wolverine VFX images courtesy of 20th Century Fox5The SCRATCH X-perience

For example, from a hard drive with rushes

and the EDL of an hour-long cut, Sonic can

do the conform in under 15 minutes, which

they see validating the future of a

tapeless RAW workflow. A significant

project challenge was the post production

for George Michael’s World Tour, featuring

Ditta Von Tease’s burlesque routine

projected on huge screens during his

concert. Michael’s performance was shot

using two RED 4K cameras. Edited on Avid,

the piece had over ten layers of

over-laying and comping footage. Sonic

then did the conform in SCRATCH at 2K

resolution. The tricky aspect was precisely

stretching all the pictures in width so that

when squeezed into the large irregularly

shaped concert LCD screens, they would

look perfect and hold as much resolution

as possible. Sonic says they achieved this

easily because SCRATCH is not tied down

to one size or format. They were able to

easily turn the construct into any size for a

preview of what the images would look

like on the large screens. “With most other

systems it would have been impossible to

complete this project. SCRATCH was able

to blaze through all the resizing of the 2K

material, enabling us to complete the

project on time.”

Colm O’Rourke at Sonic Films: “During

these 18 months, we’ve used SCRATCH

extensively. It’s a great grading tool; has

the best conform features in the business;

is lightening quick with DPX files; converts

footage to a wide variety of formats; has

the ability to mix DPX files and Quicktimes

in the same construct; and has the unique

ability to playout RED RAW 4K files to

HDCAM SR in real time. I don’t know of any

other workflow that offers this high level of

versatility and ease of use.”


masters RED 4K

format with

SCRATCH

Post Facility Sonic Films Colorist Colm O’Rourke Camera RED ONE™ Digital 4K Camera Post 4K Workflow SCRATCH

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.

Credits

18 months ago, Sonic installed SCRATCH for these reasons and because it offered the only true native RED RAW 4K workflow.

Encore Media (Nashville) scores with the SCRATCH-RED 4K workflowEncore 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

production suite for the SCRATCH 4K Workflow in

response to the growing use of the RED 4K camera

in shooting country and Christian music videos.

Since then, Encore has been pumping out

RED-SCRATCH projects, including Rodney Atkins’ “It’s

America” music video. Other RED-SCRATCH projects

include Jason Aldean’s “She’s Country” (Ruckus

Film), Craig Morgan’s “God Must Really Love Me”

(Broken Poet), and Taillight TV’s Lady Antebellum

video “I Run to You” to name a few.

John Buchanon, senior colorist at Encore Media:

says their clients are savoring the quality results,

efficiency, and time savings from the combined use

of the RED-SCRATCH 4K Workflow. For example, the

RED RAW R3D files are fed directly to SCRATCH and

the conform takes place in real time. Then, the final

edited piece is color corrected, rather than color

correcting all the source material, which saves the

client considerable time. Cost savings is another

factor for clients because with RED and SCRATCH,

there are no film or telecine costs.

John Buchanon, Senior Colorist, Encore Media:

“Once we got SCRATCH, we had clients waiting on

our doorstep with their RED footage. Clients loved

using the RED camera, but until the SCRATCH 4K

post workflow, with its ability to directly ingest the

native REDCODE RAW files, the post workflow was

difficult and required working with down-converted

material. We initially planned to use SCRATCH as

an affordable, high-quality real-time color corrector

for HD, but were able to immediately put it to work

for RED 4K footage – the conform, construct, color

correction, playback, reviews, and finishing.

SCRATCH also works in many formats, and this

versatility allows us to integrate other material from

a variety of sources into a project. It also outputs

to a variety of formats.”

Image top left: Courtesy of Encore Media: SCRATCH used for color grading of Rodney Atkins’

“It’s America” music video. Middle and rmain images: Courtesy of Encore Media: SCRATCH used

for color grading of Taillight TV’s Lady Antebellum video “I Run to You.”

Client Broken Poet Project Rodney Atkins; "It's America" music video DP & Director Eric Welch

Post Production Facility Encore Media SCRATCH Colorist John Buchanon Camera RED ONE™ Digital

4K Camera Post 4K Workflow ASSIMILATE’s SCRATCH® Digital Process Solution 7The SCRATCH X-perience

THE CREATIVE WORLD OF SCRATCH

COMPANY La Sociedad Post, ArgentinaPROJECT Dia Naranja

Produced by Estrella Films. Shot entirely on 35mm, edited on Avid Media Composer, scanned on NorthLight, Conform and Color correction made on ASSIMILATE SCRATCH. All Digital Intermediate made at 2k.

CREATIVE TEAMProduced by Daniel Jerozolimski (Estrella Films)Director Alejandra Szeplaki Director of Photography Cezary JaworskiSCRATCH Colorist Matias Kamijo

COMPANY SYSPLEX Media, HungaryPROJECT Dream.net

Shot entirely on two RED One cameras, edited on Final Cut Pro, Conform and Color correction made on ASSIMILATE SCRATCH at 4k. Recorded to film by ARRILASER at 4k cinemascope.

Produced by HCC Media Group & Parabel Studio.Post Production Team (SYSPLEX Media) Post Production Supervisor, SCRATCH Colorist Peter DeakLead Visual Effects Peter BakoData Management Balint Sipka

COMPANY The Mill Datalab, LondonPROJECT Dance

The Mill Datalab rush through with RED and SCRATCH to deliver ‘Dance’, T-Mobiles’ new commercial in 24 hours.

Client Saatchi & Saatchi

COMPANY Wefadetogrey, GermanyPROJECT MARS Plants Commerical

Shot on RED and finished in ASSIMILATE SCRATCH.

Creative Swen Linde

www.wefadetogrey.de

COMPANY Cloudburst Films, UKPROJECT Loud & Clear

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 TEAMDirector Henry Scholfield - Partizan Editor Johnny Rayner - SpeadeCreative/Colorist Mark Wilenkin

with special thanks to Torquil Deardon - Cat Skinners

COMPANY Hollywood-DI, USAPROJECT Radio Free Albemuth

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

CREATIVE TEAMDirector, Writer (screenplay), Producer John Alan Simon Writer (novel), Cinematographer Philip K. DickColorist/Online Editor Jon Felix Aaron PeakDI Supervisor Neil Smith


Image courtesy of La Sociedad Post & Estrella Films

Image courtesy of The Mill Datalab

Image courtesy of John Alan Simon, Discovery Productions & Hollywood-DI

Image courtesy of Henry Scholfield

the CREATIVE LINK... Visit the FREELANCE DIRECTORY on the ASSIMILATE website

“the SCRATCH range of featuresare extremely powerful, especially for finishing”

Jordi NiubóI/O Post financial directorand co-founder

Yohance Brown Colorist

COMPANY EFE-X, ColombiaPROJECT EN COMA

Producer EFE-X CINE / COLOMBIAN CINE / ANTORCHA FILMSDirector Henry Rivero /Juan David RestrepoPost Production EFE.X CINE

www.efe-x.com

COMPANY Het Raam Digital Cinema, The NetherlandsPROJECT The Winner Is…

‘The Winner Is…’ is a 13 part television series about two couples that win the main prize in the lottery. Shot on RED.

Director Johan Nijenhuis Written by Johan Nijenhuis, Alain de LevitaDirector of Photography Mark de BlokProducer NLfilmGraded by Marijn Eken at Het Raam Digital Cinema

www.hetraam.nl

COMPANY Complete Post, AustraliaPROJECT Salad Plate

Shot 35, edited Avid, Scanned arri, Graded 2k SCRATCH

CREATIVE TEAMDirector Tony RodgersProduced by Renegade FilmsSCRATCH Colorist Fergus Hally

www.completepost.com.au

COMPANY IKA Collective, USAPROJECT K'Naan MTV Black History Month

Produced by MTV NetworksShot on RED ONE cameraColor correction made on ASSIMILATE SCRATCH Digital Output to HDCAM

CREATIVE TEAMProduced by Jeff WoodtonDirector Jahai BrightlySCRATCH Colorist Gary Scarpulla, IKA Collective


Image courtesy of HCC Media Group & Parabel Studio Image courtesy of EFE-X CINE / COLOMBIAN CINE / ANTORCHA FILMS

Image courtesy of Complete Post and Renogade Films

Image courtesy of BBDO – MARS PLANETS

Image courtesy of MTV Networks and IKA Collective

Image courtesy of NLfilm/Mark de Blok

“It is so much easier to exceed client expectations when I have the power and versatility of SCRATCH at my fingertips”

the CREATIVE LINK... Visit the FREELANCE DIRECTORY on the ASSIMILATE website

David Premier, 8mm Productions: “For Alla Udhal, we transitioned the

RED footage to SCRATCH, used the EDLs in doing the conform and

color grading, got the DPX files out, and did the finishing – all

in real time. We’re also able to create a variety of

deliverables as needed in different formats. With the

SCRATCH-RED workflow, we have the camera and

tool suite to raise the level of quality of Bollywood

films – comparable to 35mm – while working

within tight budget constraints.”

Ajit Gupta, 8mm Productions: We realized the

RED footage needed a real-time data pipeline

of software tools geared to handle the RED 4K

digital files. So, the next logical step was to

build a seamless data pipeline, from off-line to

finishing. For the digital intermediate – conform,

color grading, edit/reviews, dailies, through to

finish – we chose ASSIMILATE’s SCRATCH for its rich

feature set, agility, and speed in handling the native

REDCODE RAW files.”

Manish Hamza, 8mm Productions: “For 8mm, SCRATCH

obviously made a lot of sense because it was the only software that

could handle the 4K media directly from the RED ONE camera without any painstaking

conversions. At first glance, it seems like a drastic change in tried and true

traditional methodologies, but the proven high quality results at incredible

price/performance – considerable cost and time savings throughout the

post process – outweigh any thought of risk.”

8mm clients include MTV, Channel V, Nirvana Films, Black Magic

Productions, and Fingerprint Productions, to name a few.

Additional SCRATCH-RED projects include commercials for

Piaggio Ape Truk, Radio Mirchi, and Shaadi.com, as well as

documentaries and corporate films for Reliance Industries

Limited and several diamond manufacturers/exporters in

India. Other films include Director Siddharth Anand Kumar’s

Semshook, with Cinematographer Pankaj Kumar (Elephant

Films); and Director Aditya Sengupta’s Channel V Promo, with

Cinematographer Saurabh Vishwakarma.”

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.

Credits

Film Alla Udhal Producer Saga Arts Director Nikhil Sinha DoP Nikhil Sinha Camera RED ONE™

Digital 4K Camera Post Production SCRATCH® Digital Process Solution

8mm Productions changes filmmaking in India with the SCRATCH-RED 4K Workflow

Images courtesy of 8mm Productions, Mumbai, India: “Alla Udhal”

REDCODE RAW file (inset); final file after post production in

SCRATCH (main).


Why SCRATCH? What defines Caviar is quality work and

results, and as a high-quality grading system

SCRATCH gives us total control over the

imagery on commercials and long-form

projects. Using SCRATCH as the core of our

workflow optimizes our different types of

productions by bringing our technical

knowledge and assets together so that we

can finish projects to exactly match our

client’s vision.

Cost-effective: SCRATCH has a rich post

production feature set, yet the price difference

between SCRATCH and other workflow and DI

systems is enormous, which was one of the

main attractions for us.

Multi-purpose: The commercials, TV dramas

and features we work on each have different

workflows and formats. But that’s not a

problem. SCRATCH is resolution independent,

so it offers a level playing-field for the DPX,

JPEG 2000, R3D, uncompressed CINE files and

1080i we typically handle.

Multi-tasking: SCRATCH has many different

users here. We work with several freelance

graders. Our in-house editors and artists use

SCRATCH’s built-in paint tools for things like

dust-busting. I even use it for real-time client

reviews and to show work-in-progress. It’s

truly multi-functional.

Highly stable: When we did the DI grade for

The Emperor of Taste series, we had all ten

episodes on-line in SCRATCH at the same

time. That’s 10 x 50 minutes. Our colorists

loved it. They could jump between episodes,

compare and transfer grades, apply new

ones, and playback the results at 2K in

real-time. Simultaneously, we had a

full-length feature on SCRATCH – around 60

percent of it was 4K footage, the rest was

at 2K. It all worked perfectly, without a

single crash.

Versioning: 99 percent of the time we need to

make new versions of commercials with

different pack-shots or film trailers for different

markets. One of the big advantages of having

SCRATCH is that we can easily perform the

re-edits, conforms and grades in-house, and

then master to whatever format is needed –

HD, 2K DPX, JPEG 2000.

Projects Recent long-form finishes on SCRATCH at

Caviar include the Flemish TV series The

Emperor Of Taste, a triple award-winner at

the International Festival of Audio Visual

Programmes in Biarritz, January 2009; and My

Queen Karo and Dirty Mind, both entered for

the Cannes Film Festival 2009. The feature

Tied Together, released March 2009, became

the number one box office feature in Belgium.

www.dirtymindthemovie.com

www.tiedtogetherthemovie.com

www.caviarcontent.com

Peter Deuss, Caviar’s CTO, says

SCRATCH enjoys a varied diet – 10-bit,

4:4:4, DPX log files from film scans,

raw footage from RED 4K, as well as

1080i HDCam material. Custom

developed LUTs mean that grades

done on SCRATCH reproduce perfectly

on 35mm print, in a digital cinema, or

on a TV screen.

SCRATCH is a delicacy thatmany savor at Caviar

“My Queen Karo” “My Queen Karo” “The Emperor of Taste” “Dirty Mind” “Tied Together”


All other images courtesy of Caviar.

(Third image from left)

The Emperor of Taste - Lies Willaert & Fotowerken.

Caviar is a production company for high-end

commercials that also produces high-quality

TV dramas and full-length features. It has a

burgeoning in-house post production facility at its

HQ in Brussels that includes ten editing suites,

the latest VFX, CGI, desktop retouching systems,

plus the SCRATCH® Digital Process Solution for

DI grading and finishing.

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

to get the lighting and shadows just right. As the colorist for the project, Yohance Brown was able to enhance the beauty of

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

client was extremely pleased with the final results.”

Emery Wells, Founder and Digital Artist, Katabatic Digital “I had an immediate, visceral response to the 4K high-impact

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

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.”

Emery Wells founded Katabatic Digital in NYC to

provide 4K post production services for high-quality

visual projects such as ad campaigns, music videos,

and TV episodes. They provide the RED 4K camera for

the shoot and use SCRATCH for the full post

production, including conform, construct, color

grading, dailies, client reviews, and finishing.

Their client list for the high-end advertising market

includes major household brands, including Marriott,

Pillsbury, Pfizer, MillerCoors, Crisco, KFC, Citibank,

CVS Pharmacy, Rocawear and more.

SCRATCH and RED give Katabatic Digital a creative edge for the advertising market

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

Image courtesy of Rocawear clothing line; Katabatic uses SCRATCH CONstruct for ad campaign.


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.

Credits

Images courtesy of DR&A (Nashville): SCRATCH used as post workflow for Taillight TV/ Martina McBride “Ride” music video.

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

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.

DR&A (Nashville) brings the SCRATCH-RED 4K Workflow to Country Music

Weeks quickly understood the need for a seamless

digital post production workflow that could handle

the native REDCODE RAW files (R3D). The optimum

solution for price and performance was the

SCRATCH suite of post tools, which offers

resolution-independent real-time conform, construct,

color grading, dailies, and finishing. Since then,

DR&A has completed over 45 RED-SCRATCH-based

documentary and music video projects, including

Martina McBride’s performance for Taillight TV.

Bret Weeks, General Manager, DR&A: “One of our

biggest clients, Taillight TV used the RED camera to

shoot a recent Martina McBride performance in front

of a concert-type background on a 19'x40' screen

at our studio. On set, we loaded the R3D files into

SCRATCH for a quick check of material. We then ran

it through the SCRATCH post production workflow;

showed the director and DP a preview grade; and

then did beauty enhancements – masking,

clean-up, touch-ups - using SCRATCH Scaffolds.

We were able to make any changes/edits in real

time, which the client loved because it’s a big

time-savings for them, as well as for us. This is

an amazingly quick turnaround for a high-quality

video.”

Doug Rice, Owner, DR&A: “When researching ways

to expand our business, we realized a 35mm

workflow was very costly and knew margins would

be tight, but with RED and SCRATCH we’re able to

achieve comparable results and squeeze the

budget to an acceptable cost. Also, some of our

projects require timely turnarounds and working in

35mm doesn’t allow for that, whereas working with

super high-res 4K files and a 4K data workflow

gets the job done in about 30 to 40 percent of the

time. We can also take both RED and SCRATCH to

the client’s location – concert tour, live performance,

home, studio, etc. Our clients love the results –

quick turnaround and sharp image quality.”


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.

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”.

SCRATCH brings power to Scandinavia

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.

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”

SCRATCH Brochure

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