Case Study: Page (1) of 1 - 05/07/09

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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 director Patrick Lussier's My Bloody Valentine 3D (January 2009) Lionsgate turned to Brian Gaffney (Vice President/GM) and Dan Lion (Vice President Marketing & Sales) at Technicolor Creative Bridge for the back-end post production, requiring dailies in both 2D and 3D sent to their offices. Gaffney and Lion were early adopters of the SCRATCH Digital Process Solution and knew its data workflow could easily handle a variety of formats -- including the RED ONE Digital 4K Camera files (native REDCODE RAW files) â?" and output to your format of choice.   

 "We had three SCRATCH artists on this project -- Matt Purse, Patrick Bellanger, and Ernie Camacho, says Gaffney. "For My Bloody Valentine, they used SCRATCH as a versatile support tool for four different applications within our 3D workflow."

Virtual Telecine: "For all the dailies, we loaded the RED R3D files from Paradise FX into our Globalstor workstation running SCRATCH and recorded in real time to HDCAM SR.  This method bypasses the typical telecine, which of course saves time and money, and gives the filmmaker the timely opportunity to shoot more footage if necessary before striking the set."

Left: My Bloody Valentine Theatrical Art Poster. Right: Jensen Ackles stars as 'Tom Hanniger' in My Bloody Valentine 3D. Photo credit: Michael Roberts

Edit Module:  "We could check that the content was in sync at the beginning of a take. One camera would continue to roll and could get out of phase. The artist would go into SCRATCH construct to check the left eye and the right eye, change the orientation â?" edit, flip and flop, and trim as necessary -- to get the two eyes properly aligned, as well as in sync with the audio.

Quality Control: "We were able to do a lot of the QC up front, using LUTs brought into SCRATCH for the color QC."

Visual Effects: "For the VFX, we could render out DPX sequences in any resolution and then do a conform before sending the files on to DI.  The DI artist could ask for the timecode of any original R3D file for rendering out as requested."  

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 â?" HD, SD, 3D, RED 4K, 35mm, 16mm â?" and its depth of functionality make it a highly used and versatile tool within our workflows."

Credits

Produced by: Lionsgate
Director: Patrick Lussier
DP: Brian Pearson
Camera:  RED ONEâ?¢ Digital 4K Camera

Post Production: Technicolor Creative Bridge

SCRATCH artists: Matt Purse, Patrick Bellanger, and Ernie Camacho

 

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