Just wanted to show all off you our latest greatest video. Executives at all the large facilities are going crazy for this... and we wanted to bring it to the every day heroes doing all the work in the industry.
Before you can do VFX and AFTER your done the VFX you need something in between.
And thats what we are showing you now. Assimilate Scratch.... but for real life scenarios.
YOU WANT THIS FOR SURE:
cmiVFX Releases New Color Grading Migration Guide for ASSIMILATE SCRATCH
High Definition Training Videos for the Visual Effects Industry
Princeton, NJ (June 21st, 2012) - cmiVFX has released a new Color Grading Migration Guide for ASSIMILATE SCRATCH®. How can you convince someone how beautiful a sunrise is who will not open their eyes? Mike Burton is here to open your eyes to the speed and power of ASSIMILATE SCRATCH. SCRATCH is a trusted tool for production environments throughout our industry. This courseware will quickly guide the viewer to a stage of efficient productivity with SCRATCH. Sprinkled throughout, among the grading instructions, you will find features unique to SCRATCH. Mike introduces compositing capability that makes client meetings unexpectedly pleasant. Be sure to watch for the renowned speed of SCRATCH as you view this excellent cmiVFX production. After this lesson you will fully understand the powerful XML-based conform features in this wonderful tool. SCRATCH is a welcome addition to any film production and by the end of this lesson you will have a firm grasp on how to use it.
This courseware is intended to quick start existing colorists migrating to ASSIMILATE SCRATCH. Mike Burton tackles several situations that cover what is most often required of colorists everywhere. Further offered are topics covering features unique to SCRATCH.
Here at cmiVFX we maintain a current training library for the latest versions of popular software titles. When it comes to high end CG and VFX training, there is only once choice... cmiVFX!
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In this first chapter we will explore the basic functionality of the SCRATCH user interface. We'll learn about recommended system configurations from the ASSIMILATE website, discuss control surfaces, we'll set up a project and adjust specific parameters to customize the SCRATCH UI. This will get you up and running in SCRATCH and prepared to start working on your first project.
SCRATCH in Production
In Chapter two we'll explore the many ways in which SCRATCH is being used on set in production environments. Using footage from the film "Café" starring Jennifer Love Hewitt, Jamie Kennedy and Alexa Vega we'll work on RED One 4K files, adjust metadata settings, sync audio in the SCRATCH Media Browser, do a one light color pass, create custom metadata notes and render our dailies to an Avid MXF codec for offline editorial. Learn how SCRATCH can become the central hub of your digital lab.
This chapter will take an in depth look at conforming a short sequence from the independent film, "BloodLine". First, we'll dive into FCP and look at setting up the sequence timeline for conforming both EDL and XML deliveries to SCRATCH. In SCRATCH, we'll load both our EDL and XML and examine the benefits of both methods while exploring the EDL/XML Assembler.
In this chapter we will perform primary color grading on a short scene from the feature film "Café". This simple scene stars Jennifer Love Hewitt and Jamie Kennedy who are at odds with one another in a small cafe in west Philadelphia. Our job is to subtly enhance the emotion of the scene, which we will do with some primary color adjustments. We will use our scopes in SCRATCH to "balance the image", use Lift, Gamma, and Gain controls to add color and contrast, and even learn some secondary keying techniques. Let's cool off these two before someone gets hurt!
Advanced Grading Techniques
Our challenge in this Advanced Grading Chapter is to take the basics which we've learned in the previous lessons and apply some new techniques as well to save a shot from the cutting room floor…at 1500fps. We'll take an in depth look at using "Scaffolds" to isolate different aspects of the frame, make color/hue adjustments, keyframe semi-articulate shapes and finally de-noise the shot with the "Neat Video" de-noiser plugin in SCRATCH. We'll also make some older 35mm film footage look like new again with grain reduction techniques using "Neat Video's" de-noiser plugin.
In this chapter we'll composite multiple layer elements onto a Honda Pilot dashboard to create an LCD Navigation display. Masking, keying, texturing, staging and structure will be terms you will get to know intimately as we explore the SCRATCH compositing toolset.
In this chapter we'll explore visual effects preparation. Working with original footage and final composites from the independent feature film, "BloodLine" we'll set up a shot for exporting to visual effects, create custom colored notes, create custom metadata for visual effects facilities and discuss versioning with real-time performance as the key to fast vfx reviews.
Finally, we'll look at how SCRATCH manages outputs within its "output module". We'll get familiar with the output node layout, use the output module to create our final color decisions, create multiple output deliverables including guides, burn-ins and add them to the "Queue" for processing in faster than real-time rendering performance.
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