Assimilate Inc

Assimilate scratch does Realtime 4K, 2K, HD and SD primary Grading, with unlimited Secondary grading, and can be customised to any resolution or aspect ratio in between! It shares hardware with Baselight, Nucoda and Lustre which are competitive systems. SCRATCH’s performance and functionality can be likened to any of these systems, with the only real difference being that its more affordable to acquire. It often offers more functionality than the systems mentioned before, and can often be used on existing high-end NLE systems as it works on Windows XP or Windows Server 2003. This means, if you already have a dual-processor Computer system (2 x AMD or Intel Processor system), then its is feasable for DI FIlm Company to upgrade that existing system to full 2K Specification.

What can i do with scratch?

Feature Films
Commercials
Documentaries
On Set DI Review & Capture Station

Feature Films:

SCRATCH offers studios unlimited power and the ability to set multiple SCRATCH stations to work on the same job for collaborative assemblies of feature films. Additionally SCRATCH works in the Cineon/DPX file format which means integration with existing post-prod gear and uncompromised, unchallenged, quality.

While realising realtime grading in 2K and even 4K right now, SCRATCH is perfectly positioned to meet any resolutions changes that may be realised in the future. Being resolution independent SCRATCH will always be at the leading edge of FILM and Digital Film finishing and delivery.

Colourists will find that SCRATCH is easy to translate their knowledge onto as it’s designed to accomodate operators from many different backgrounds. With unlimited Frame grabs to store and use as grading references SCRATCH tackles the biggest jobs with ease.

Handling both Video and Film Metadata means accessing timecode and film keycode simultaneously ensuring maximum integration with 3rd party applications like Avid offlines, Telecines and Visual FX Studios.

The ability to import and export EDL’s, AAF’s and even Colour LUT’s which ensure colour fidelity throughout the collaborative process including the Film Printing process, will give the user confidence to manage the assembly of these mamoth projects.

When sending and receiving material from Animation/Visual FX facilities and Telecine Film Scanners which deliver in either 10 bit log (requiring 3d LUT to view correctly) or 16 bit linear colour spaces. Scratch is able to accomodate all formats. SCRATCH is designed for this purpose!

Commercials & Advertising

While being incredibly adept at handling long form work and managing EDL’s and the media data substructures that all make up the “Feature Film” conform, SCRATCH can really give the Advertising & Music video industries a new lease on creativity. Offering all the features of the more expensive suites without the price tag! Obviously a more accesible hourly rate makes it a preferred finishing system for commercials that allows exploration of the creative concept without blowing the budget!

With more than just rock solid Conforming tools at its disposal, SCRATCH gives creative DI Artists and Colourists unlimited access to Secondary grading and colour correction, while supporting an arsenal of Visual FX Plug-ins courtesy of “Speed Six” and “The Foundry”. Being resolution independent means being able to work on every format from 720 x 576 SD, through to 4096×3350 pixel (4K) 10 bit log/lin files, making SCRATCH the system of choice.

Even though Assimilate dont tout this as a primary function for SCRATCH, we have found it to be a dream system to composite 3D rendered scenes and other effected material. This just by virtue of the way it handles and stacks media. Imported material has full support for alpha channels and can match colours and tones perfectly, while offering keyframes and animation over all values including the tracking of masks for element replacement and grade masking.

Every trick in the book is placed at your fingertips and its all beautifully wrapped up in a slick and instantly responsive interface. SCRATCH Supports 16 bit linear colour depth, and can provide unsurpassed processing accuracy when doing Chroma Keys and similar selective colour operations.

Documentaries:

Being versatile is what SCRATCH is all about! When not being used to make Feature Films or not needing to print back to Film, then SCRATCH is equally comfortable being switched to operate within the YUV colour spaces commonly used in most video recording formats.

This means a less expensive hardware configuration and more drive space available per second. It also means BIG Power at the disposal of the documentary film maker.

A SCRATCH system designed to meet these YUV specifications will be extremely cost effective and would ensure scalability for any enterprise to grow into. This sytem would meet and exceed all specifications as set out by National Geographic & Discovery TV as defined by their broadcast spec. white paper.

RS-422 control means integration with HD and SD decks in a way familiar to all video editors.

On Set DI Review & Capture Station:

Scratch can also be configured to work as an on-set review station for Logarithmic based data captured from camera’s like the THOMPSON Viper, Panavision Genesis, ARRI D20 and of course the Sony F950. Images captured in the log gamma curve require 3D LUT’s to correct the images back to a 12 bit linear image which offers a fundamental 4096 levels of grey per colour component.
As SCRATCH is designed to load multiple LUT’s on a input or a clip/Bin Slot basis, and then again for the output of the construct. This means that the reviews can offer true grade references for the Film print results through the use of Printer LUT’s like those supplied for the ARRI laser Music Video’s.