Published on Tuesday, 12 April 2011
NAB ASSIMILATE SCRATCH 6 and SCRATCH Lab digital cinema and broadcast tools
will support all Panasonic cameras including the AG-3DA1, their current AVCHD based
3D camcorder and the upcoming P2 AVC-Intra based stereo AG-3DP1.
|SCRATCH is a cinema and broadcast finishing tool for digital workflows, while SCRATCH Lab is a Digital Lab tool for the review, versioning, colour grading, conform and deliverables in on-set and VFX dailies pipelines.
Shipping in June 2011, both SCRATCH 6 and SCRATCH Lab will support Panasonic’s native AVC-intra, P2/MXF format, and provide DI tools for the native AVCHD format. The purpose is to give productions shooting on Panasonic cameras a digital pipeline from shoot through post-production.
Native format support in SCRATCH means transcoding of data from Panasonic cameras is not required. Formats and camera footage can be integrated from a variety of sources. Post teams can use SCRATCH CONstruct to create unlimited versions of material and review side by side, working in real-time without having to render. Users receive regular SCRATCH updates with new tools and support for new digital cinema developments.
SCRATCH already directly supports RED ONE, the new RED Epic 5K camera and HDRx format from RED. ASSIMILATE worked with a pre-release Epic SDK to optimize SCRATCH for a 5K workflow. The system handles all current specifications of the RED Epic camera, and works in real-time on native R3D 5K files. ‘Pirates of The Caribbean: On Stranger Tides’ has deployed SCRATCH to handle RED Epic 5K footage. Multiple SCRATCH systems were involved in a 3D stereo workflow developed and managed at Company 3 in Los Angeles.
Company 3 has used SCRATCH for projects shot on RED since 2007 including the full-length RED features ‘Gamer’ and ‘Fright Night 3D’. Company 3 established a set-to-post workflow that travelled with the production as it moved between locations in Hawaii, Los Angeles, Puerto Rico and Pinewood Studios, UK. 3D stereo footage and metadata passed continually back-and-forth between near-set SCRATCH systems at the different locations and systems at Company 3’s facility in Santa Monica and Deluxe 142 in London.
During the main production, shot using RED MX cameras, SCRATCH was used for 4K technical reviews, convergence adjustments and primary dailies grading of RED R3D footage, and later for the review and 2K digital projection of graded dailies. The digital imaging technician ran a separate SCRATCH on-set in combination with 1 Beyond’s Wrangler Pro for instant full-resolution, real-time checking of stereo R3D material. All SCRATCH systems were fitted with dual RED Rocket accelerator cards.
When the crew of ‘Stranger Tides’ needed to shoot some pick-up work and chose the new Red Epic 5K cameras, Company 3 installed a new build of SCRATCH and updated the firmware on the dual RED Rocket cards. After that, their Globalstor SCRATCH could handle 5K Epic in real time. www.assimilateinc.com