On-set Professionals

Industry leading solutions for production dailies

Introduction to SCRATCH for Production Dailies & Review

Watch Emmy-winning Michael Forrest as he walks you through SCRATCH on-set.

If you’re a DIT or video engineer, you know that digital cameras and file-based workflows have completely changed the production landscape.

The explosion of new cameras from the RED Epic and ARRI Alexa, to the SONY F5/F55/F65, to C300/500 and Phantom to DSLRs like the 5D, 7D and GoPro have created amazing choices for Directors and DPs. But their different workflows also come with a tremendous amount of complexity. Your deliverables have changed as well, and often times with new opportunities.

Directors and producers want to leverage these new digital workflows to push their creative limits while saving time and money in every production.

The Advanced Dailies Revolution

In the new era of Advanced Dailies, the lines between what’s done on set, or on location, are blurred with what’s traditionally been done in a facility. Many tasks are well above and beyond the requirements of productions one or two years ago.

Today’s DITs and video engineers working on projects ranging from features, to episodic TV, commercials and spots are now required to:

  • Manage the data from multiple cameras and camera types - (with some being added even in the last minute) and keep huge amounts of data organized
  • Sync audio - sometimes with the luxury of accurate timecode, and sometimes with no timecode at all
  • Set looks and manage LUTs. Sometimes, LUTs are given to you, sometimes you are the one that makes them
  • Engage in advanced QC and color correction – sometimes color correcting the dailies as you go, and even setting a key on a green screen to ensure it has been lit properly.

 

SCRATCH for Dailies & Review Gives You the Edge with Key Advantages:

  • Better shot and reel management than any other tool. The unique SCRATCH CONstruct interface (timeline) allows you to organize your shots any way you like - by day or week, or by scene and take. Manage unlimited numbers of versions and switch between them, or see them side-by-side.
  • Support for more native camera formats than anyone else. Mix and match camera formats, resolution or colorspace in the same, single view.
  • Advanced audio sync either automatically via timecode, by analyzing the audio waveform, or by moving the waveform manually
  • Unrivalled timecode and metadata management. Easily manage, change and carry any metadata through the entire workflow. Even add timecode to shots that don’t have it. Roundtrip with Avid or FCP with confidence for fast, flexible conform.
  • Powerful QC, LUT and look management. Create looks, LUTs and CDLs, or seamlessly integrate with 3rd party tools like LiveGrade.
  • Wicked fast background rendering. Create one-click templates that can render any popular deliverable combination in any sized cue- completely in the background, while you load your next shot and carry on working.

Click here to read more about production dailies and review with SCRATCH.

Video Case Studies

  • Leandro Marini of Local Hero Post and Director Tom Elkins discuss color grading and compositing in SCRATCH
    Post date: Tue, 2013-04-16 21:39
    Color Grading
  • Cinematographer Paul Cameron ASC and DIT Mark Wilenkin discuss the benefits of color-grading dailies on-set
    Post date: Fri, 2013-02-01 01:26
    Dailies review

Tutorials

  • SCRATCH and LiveGrade
    SCRATCH Lab

    Learn how to use Pomfort's LiveGrade and Blackmagic Design's HDLink Pro to generate luts and CDLs for ASSIMILATE SCRATCH.

  • SCRATCH Lab 6.1: New Metadata Tools
    SCRATCH Lab

    Learn how to use the new features in SCRATCH Lab 6.1 for faster, easier workflows with Metadata Stacks, custom fields, timecode regeneration and trays.

Webinars

  • 29 October 2013 - Filmmaking to Go: The Tablet Revolution in On-Set Workflows
    SCRATCH Finish
    Filmmaking to go: Duck Grossberg, who designs and manages digital acquisition and dailies pipelines for features, commercials, and episodic projects, shares how he uses portable devices to improve on-set workflows during filming.
  • 06 February 2013 - Everything On-set Professionals Need to Know About Color Correction
    SCRATCH Lab
    Get the scoop on color theory and grading on-set with Emmy award winner, Michael Forrest, and Juan Carlos Ortiz-Duran, colorist, DIT and local 600 member. Topics include the relationship between image color, look generation and lighting and how to use tools to achieve looks and color grades on-set.

Pages

Case Studies

  • SCRATCH Helps Advance Jeff Flohr from DIT to Colorist on Sofia Coppola’s The Bling Ring
    Post date: Wed, 2013-10-09 18:34
    Case Study Category:
    Color Grading, Finishing
  • SCRATCH Streamlines Multiple Aspect Ratios and Versioning of VFX Dailies on Snow White and The Huntsman
    Post date: Mon, 2012-08-27 18:54
    Case Study Category:
    Dailies review

Credits

  • The Bling Ring
    Jeffrey Flohr
    2013
  • Audi Commercial
    Brownian Motion
    2012
  • Being Mary Jane
    Joe Elrom
    2012
  • BMW Commercial
    Brownian Motion
    2012
  • Calvin Klein - Euphoria Commercial
    Jeffrey Flohr
    2012
  • Chasing Mavericks
    Digital Sandbox
    2012
  • EA Sports Commercial
    Thomas Wong
    2012
  • Glee
    New Edit
    2012
  • Harry's Law
    Warner Brothers
    2012
  • Klondike Commercial
    Thomas Wong
    2012
  • Knorr Commercial
    Brownian Motion
    2012
  • MLB Commercial
    Thomas Wong
    2012
  • Revlon Commercial
    Jeffrey Flohr
    2012
  • Second Generation Wayans
    Joe Elrom
    2012
  • Sony Playstation Move Commercial
    Thomas Wong
    2012
  • Sony Playstation Vita Commercial
    Thomas Wong
    2012
  • Sparks & Embers
    Jody Neckles
    2012
  • Target Commercial
    Thomas Wong
    2012
Japan
USA