Mazze

Just a different mapping of functions on the panel for the ACS and CP100 panels.

But as of recently, you can also use the Tangent Mapper with the Wave, Element, Ripple and CP200 panels

and create your own mapping for Lustre pretty easily without messing around with config files.

Hi all,

here is a tutorial about the Gallery in SCRATCH and how to manage and compare your grades.

Hi all,

here's a tutorial explaining remote grading with SCRATCH.
Main things to point out are, that you don't need the media you're grading on on both sides,
also you can add as many workstations/artists as you want, joining the creative session.
Have a look:

Hi all,

since there are many places in SCRATCH to load (and save) a lookup table,
here's a quick guide showing all the possibilities when working with LUTs:

Hi all,

here's an older tutorial showing a way to do a 3 stripe CMY grading:

Lustre is primarily used in Hollywood these days.

I think it's the #1 grading system there and Autodesk cares very much about that high end market.

One of the many advantages of a Lustre workflow is the connection to Flame - which was e.g. pretty important when they did The Revenant (lots of roto on that movie btw).

Apart from that I'm not aware of any specific software modifications.

I know some colorists have their own panel mapping for Lustre (called "panel rules" after what the config file is labeled),

but that's all I'm aware of.

Hi guys,

here's a quick 5-min tutorial focussing on how to handle anamorphic footage inside SCRATCH:

Hi all,

a more basic tutorial on a common technique to balance a shot:

Hi all,

here's a tutorial about using the RGB-channels of a matte to grade seperate parts of the image:

On 07/09/2016 at 11:37 AM, Nicolas Hanson said:

Great! Do you have any experience with Red Giant's OFX products?

Nope, as I mainly use SCRATCH, and Red Giant is not available for that .

Just updated prices on the webshop - Rageboard for 2600 Euros and Element panels for 2650 Euros (excl. VAT).

Just note, both us and Tangent are on the show, so there might be a bit of a delay in response ;-) .

Cheers,

Mazze

You don't need Tornado for creating a DCP - this is only for high throughput orchestrated use.

For creating and authoring DCPs you can use Marquise Technologies MIST:
http://marquise-tech.com/mist.html

Other than that, there's other commercial softwares (cheaper), such as Fraunhofer EasyDCP, Wraptor, FinalDCP.

On the freeware-side: I don't like OpenDCP, as it has not been doing a great job for me - gamma-wise and also metadata-wise.

When you check an OpenDCP-created DCP with a validation tool (like MIST), you'll see that it produces lots of metadata errors.

I can recommend DCP Creator on the freeware side: www.terminal-entry.de.

There's also DCP-builder and DCP-o-matic.

Plus, here's tutorial on SCRATCH, where you can do a very controlled gamma / color space transform in SCRATCH,

plus do the jpeg2000 encoding there, so in the end you just need to re-wrap your content to MXF/DCP,

but not encode it a second time:

This workflow should also work with any other grading package - principle is the same.

Cheers,

Mazze

Re:Vision De:Noise and Beauty box from Digital Anarchy are also pretty good and available as OFX plugins.

As it makes not too much sense to create a new thread for this,

here's two more tutorials about interaction with Pomfort's LiveGrade.

The workflow is a bit different, since we leave out Silverstack in these two tutorials and transfer grades directly from LiveGrade to SCRATCH:

Cheers,

Mazze

Hi all,

this tutorial is focussing on the integrated shape tracker:

Cheers,
Mazze

Hi all,

here's a tutorial about roundtripping from and to Avid Mediacomposer:

Cheers,

Mazze

Hi all,

have a look at ICE, Marquise Technologies' reference player.

It can playback all kinds of (raw-) formats, but mainly it's being used to QC DCP and IMF packages,

featuring validation tests, a number of various scopes and SDI out through Bluefish444, AJA, or Blackmagic SDI-cards:

Cheers (and excuse the video thumbnail),

Mazze

Plus, another thing to keep in mind when getting a projector:
You either need a silenced housing for the projector, or install it in a projection room next to the grading suite, if you don't want the noise inside the suite.

Tiffen works quite fast.

Also can recommend BorisFX (Continuum and RED).

Works pretty solid and fast.

However, 99% of the time, people use OFX to either

- denoise

- timewarp

- apply grain

Everything else I've seen only rarely being used.

Hi all,

a little update from today - if you're attending IBC, you can check out the Rageboard at the Marquise Technoliges booth, hall 7.H03 :-) .

http://www.angry-face.com/see-rageboard-marquise-technologies-booth-hall-7-h03/

In addition, from start of IBC on September 9th until end of September, we'll update the prices on our webstore,

and you'll get a Rageboard 300 Euros cheaper, and if you order a complete set of Tangent Element panels,

you'll get those 100 Euros cheaper (note, that the Elements deal is limited to orders from Europe).

Cheers!
Mazze

It depends in my opinion.

As Andrey mentioned, image perception changes with a projector.

On a big screen, things very often appear in a different way, than on a display (equally color-/contrast-wise as well as perception through bigger screen).

So it makes sense to grade cinema stuff on projectors.

However, I would carefully decide wether I do cinema grading often enough to justify getting a projector.

You will need a 3-chip DLP  - anything else does not make sense for grading - and 3-chip DLPs are still quite expensive, although prices with devices from NEC and Projection Design have come down a bit.

Plus power consuption and general maintenance of projectors are something to consider when getting one.

So, if you're just grading occasionally for cinema, then e.g. an Eizo ColorEdge, or any other P3-capable display might serve just enough.

It's pretty easy :-) .

Obviously, there's always Pros&Cons - SCRATCH's CMS is not necessarily the best - I just thought, the initial list was a bit short ;-) .

Color management in SCRATCH is pretty straight forward:

- you flag your interface monitor with a color space (e.g. sRGB) and your SDI-output seperately (e.g. P3 for a projector)

- now flag your footage accordingly (e.g. as Rec709, or ACES, etc.) - usually this is done automatically by SCRATCH anyways

===> SCRATCH will do the appropriate conversion to sRGB for your interface monitor, and to P3 for SDI.

You can also mix clips of different color spaces in one timeline and for each, the correct transform will be applied.

Additionally, you can add LUTs to both, interface and SDI displays (e.g. for calibration).

Lastly, you can flag your output with a color space (e.g. XYZ if you wanna render for DCI) -

again SCRATCH will do the corresponding transform for each clip (e.g. Rec709) to what the output node is flagged with (e.g. XYZ) upon rendering.

There's a tutorial on this in the SCRATCH tutorials section :-) .

For the ones interested in DCP-creation, here's a tutorial about how to

do color space conversion and JPEG2000 encoding inside SCRATCH:

Cheers,
Mazze

Hi all,

here's a quick tutorial focussing on color management in SCRATCH.

However, below I've posted the two in-depth tutorials about color management!

Enjoy,

Mazze

*EDIT* Added the first part of colormanagement again... now updated for v9.

SCRATCH color management.