Liu adds, “SCRATCH can be used for other formats, including film and ARRIRAW, and is the bridge to other software and platforms. It also offers the ideal workflow and DI tool suite for the native REDCODE footage. We’re using SCRATCH v5.1, which includes the new RED Color Science that easily reads the RED ONE camera 30.5.0 firmware. Again, this gives us huge time savings and is one of our favorite SCRATCH features.”

“Another favorite feature is the SCRATCH output node,” says Liu. “From one master or template, we can output to several formats, such as a Digital Cinema Package (DCP), film, or HD.”

Digital Cinema Expertise

“The common elements for our RED/SCRATCH approach to digital cinema are time and cost savings, high productivity and creativity, and high-quality output to a range of formats,” says Liu. “This approach has great appeal to the filmmaking and TV production markets in China today.”

Liu adds, “We also share our knowledge and experience with directors and DPs about correct camera settings, exposure, as well as other tips to get the most out of their RED shoot and footage. This makes for positive working relationships, which is good for their business and ours.”

SCRATCH Scaffolds used for color grading and finishing of “Zou Shan Ren”; image courtesy of Hong Place Vision

Scene from “Zou Shan Ren” (2010); image courtesy of Hong Place Vision

Scene from “Zou Shan Ren” (2010); image courtesy of Hong Place Vision