Press

ASSIMILATE Congratulates Stuck On On for Post Production of Golden Globe Winner Boyhood

Press Releases

26.06.2015 Kinefinity and ASSIMILATE Partner to Deliver KineRAW Codec and Real- time Post Production to Chinese Filmmaking Market
09.04.2015 ASSIMILATE Announces SCRATCH 8.3 to Extend Its Cloud-based Ecosystem for Dailies and Post-Production Workflows at a Gotta-Have-It Price – $650 USD per Year
12.01.2015 ASSIMILATE Congratulates Stuck On On for Post Production of Golden Globe Winner Boyhood
17.12.2014 ASSIMILATE Expands Metadata Support In SCRATCH and SCRATCH Lab
17.12.2014 ASSIMILATE Introduces SCRATCH Web, the Ultimate Cloud-Based Client Review Tool for SCRATCH and SCRATCH Lab Artists
02.12.2014 SpectraCal Launches New CalMAN 5 3D LUT Color Calibration Software for SCRATCH
25.11.2014 ASSIMILATE Announces SCRATCH Play v8.2 Featuring Native Support For Oculus Rift And VR Media
14.08.2014 Sony to Offer One Year of SCRATCH Lab Software with the Purchase of Selected Large Sensor Camera
14.05.2014 ASSIMILATE Congratulates SCRATCH Artists On Festival de Cannes 2014 Entries
08.04.2014 ASSIMILATE Optimizes SCRATCH and SCRATCH Lab v8 for New Mac Pro and Final Cut Pro X
18.03.2014 MyASSIMILATE Cloud-Enabled Workflow Smashes the Barriers of Location and Proximity for Dailies and Post-Production Artists
18.03.2014 ASSIMILATE Licenses ProRes for SCRATCH and SCRATCH Lab v8 Encoding on Microsoft Windows Platform
18.03.2014 ASSIMILATE Announces Powerful SCRATCH and SCRATCH Lab v8; Includes Groundbreaking Native ProRes Encoding for Windows
19.11.2013 Versatile Distribution Services Announces SCRATCH Turnkey Systems Optimized for 4K and 2K DI and Dailies Workflows.
12.09.2013 Visual Impact South Africa Offers Free License of ASSIMILATE SCRATCH Lab with Purchase of Sony F5/F55/F65 Digital Cinema Cameras
12.09.2013 Live Preview of SCRATCH v8 Features Simultaneous DI Collaboration among Artists in Amsterdam, Miami, Los Angeles and Mumbai
03.09.2013 ASSIMILATE Launches SCRATCH Play - A Free, Comprehensive Media Player for Professional and Consumer Formats
20.08.2013 ASSIMILATE Demos Latest SCRATCH Workflows at Broadcast & Cable 2013 in Sao Paulo, Brazil
19.08.2013 ASSIMILATE to Demonstrate Battle-Tested SCRATCH 4K Workflow in Paris, London, and Amsterdam
19.07.2013 ASSIMILATE Announces Intensive SCRATCH Workshop at 2013 Guanajuato International Film Festival (GIFF), Mexico
16.07.2013 ASSIMILATE Announces the Most Affordable SCRATCH and SCRATCH Lab Ever
12.07.2013 Sherif Sadek Wins Best Director of a Short Documentary, From Queens to Cairo, at Madrid International Film Festival 2013
20.06.2013 Sony Professional Solutions Latin America offers a license of ASSIMILATE SCRATCH Lab with purchase of Sony F5/F55/F65 Digital Cinema Cameras
06.06.2013 Sherif Sadek, Director of Award-Winning From Queens to Cairo, Goes Home to Egypt for Ismailia International Film Festival
14.05.2013 SCRATCH and SCRATCH Lab Are Key to Rolling Out Red Carpet for Cannes Film Festival 2013
09.05.2013 Bavaria Film GmbH Purchases ASSIMILATE SCRATCH Site License
07.05.2013 Sherif Sadek, Director of Award-Winning From Queens to Cairo, Heads to Madrid International Film Festival
08.04.2013 Versatile Distribution Services Delivers Turnkey Systems Optimized for 4K and 2K ASSIMILATE SCRATCH DI and Dailies Workflows
21.03.2013 ASSIMILATE to Showcase SCRATCH 4K Workflows at NAB 2013
01.03.2013 ASSIMILATE Presents SCRATCH v7 Finishing at 2013 Guadalajara International Film Festival (FICG)
19.02.2013 Limited-Time Offer on the ASSIMILATE Store - Buy SCRATCH Lab and Get Pomfort LiveGrade and Blackmagic Design HDLink Pro Free
14.02.2013 ASSIMILATE Offers Free Trial of SCRATCH v7
31.01.2013 ASSIMILATE Strengthens Sales Operations in South Asia and South East Asia with Appointment of Whiteways Holdings as Exclusive Distributor
29.01.2013 ASSIMILATE Ships Support for a Wave of New Cameras and Formats in SCRATCH and SCRATCH Lab
17.01.2013 ASSIMILATE Congratulates Post Production Houses Chilefilms, Animal VFX, Offhollywood, Metropolis Post and Stuck On On for their Sundance 2013 Nominations
17.01.2013 ASSIMILATE Expands Sales and Support for SCRATCH in the U.S. and Canada with CineSys-Oceana
17.12.2012 ASSIMILATE Store Now Offers Innovative Rental Options for SCRATCH and SCRATCH Lab
23.11.2012 ASSIMILATE Announces the Immediate Availability of the worlds first truly integrated tool for digital workflows, from Advanced Dailies to Creative DI
08.09.2012 ASSIMILATE Store Now Offers Beauty Box Plug-In and LiveGrade Color Management Software to Enrich SCRATCH Capabilities
07.09.2012 ASSIMILATE’s New SCRATCH v7 Ushers in New Era of Creative DI for Features, Commercials, Spots and Episodic Television
07.09.2012 ASSIMILATE and DiaQuest Turbocharge SCRATCH Integration with Avid Interplay
07.09.2012 ASSIMILATE’s SCRATCH Powers Creative DI and Advanced Dailies Revolution with Innovative Pay-As-You-Use and Site-License Subscription Options
07.09.2012 ASSIMILATE Announces Support for AMD FirePro Professional Graphics
07.09.2012 ASSIMILATE’s New SCRATCH Lab v7 Fuels Advanced Dailies Revolution
12.06.2012 ASSIMILATE to Exhibit at Broadcast Asia 2012 in Singapore
17.05.2012 ASSIMILATE Expands Sales and Support for SCRATCH in India with DOTS Techno-Creative Solution
15.05.2012 ASSIMILATE Congratulates SCRATCH Artists On Festival de Cannes 2012 Entries
16.04.2012 ASSIMILATE Announces Support for AMD Radeon HD Graphics on MacOS X
16.04.2012 ASSIMILATE Announces the Availability of SCRATCH Lab Self-Paced Training on the ASSIMILATE Store
05.04.2012 ASSIMILATE Offers New SCRATCH Lab Certification Program for DITs, Video Engineers, and other Dailies Professionals
09.03.2012 ASSIMILATE is First 3rd Party to Support REDgamma3 and REDcolor3 Color Science
29.02.2012 ASSIMILATE Store Continues Rapid Expansion with Addition of LightSpace Color Management Tools
21.02.2012 SCRATCH Lab is Dailies Workflow Powerhouse for New Generation of Digital Cinematography Cameras
10.02.2012 ASSIMILATE Announces Breakthrough 48 FPS Playback of RAW RED EPIC Stereo Streams in SCRATCH and SCRATCH Lab
07.02.2012 ASSIMILATE Store Now Features NEAT Video Pro Plug-in for SCRATCH and SCRATCH Lab; and Tangent Element Control Panels
01.02.2012 ASSIMILATE Congratulates Chilefilms for Sundance 2012 Winner, "Violeta Went to Heaven"
19.01.2012 ASSIMILATE Congratulates DuboiColor and Offhollywood NYC for Golden Globe Award Winners, The Artist and Beginners
10.01.2012 ASSIMILATE Announces Support for RED SDK 4.2; Raises the Bar for RED Workflows with the Release of SCRATCH 6.1
10.01.2012 New SCRATCH Lab 6.1 Delivers the Best Price-Performance to Production Dailies Workflows
23.11.2011 ASSIMILATE Announces "Cyber Monday" Promotion at Expanded Online Store
25.10.2011 ASSIMILATE Launches On-line Store for all things SCRATCH
11.10.2011 ASSIMILATE Creates New Division In India
29.09.2011 ASSIMILATE announces support for 64-bit THX cineSpace LUTs
09.09.2011 ASSIMILATE announces SDI output, for SCRATCH and SCRATCH Lab on Mac OS X via AJA KONA 3G card
09.09.2011 SCRATCH Lab powers new on-location DIT Station
08.09.2011 ASSIMILATE partners with The Bridge for SCRATCH training
25.08.2011 ASSIMILATE Expands European Sales Channels with Appointment of Ezequiel Sarser
19.07.2011 ASSIMILATE To Unveil Next Innovations of SCRATCH Six and SCRATCH Lab at IBC 2011
04.07.2011 ASSIMILATE ships SCRATCH Lab Digital Lab application on Mac OS X and Windows
04.07.2011 ASSIMILATE ships new SCRATCH Six data-centric DI suite on Mac and Windows
26.05.2011 ASSIMILATE Salutes SCRATCH Users for Cannes Film Festival 2011 Victories
26.05.2011 SCRATCH Automates 2D and 3D VFX Dailies For Thor
17.05.2011 ASSIMILATE and Local Hero Post Showcase Worlds First RED EPIC Camera Workflow
17.05.2011 ASSIMILATE Congratulates SCRATCH Users On Cannes Film Festival 2011 Entries
11.04.2011 ASSIMILATE Unveils Next Generation of SCRATCH Data-Centric DI Suite on Mac OS X & Windows 7 at NAB 2011
11.04.2011 ASSIMILATE Announces New SCRATCH Lab Digital Lab Application on Mac and Windows at NAB 2011
11.04.2011 ASSIMILATE Announces SCRATCH Product Family on Mac OS X
11.04.2011 ASSIMILATE Announces Strategic Technology Partnership with Panasonic for Post Production of Panasonic 3D Cameras
07.04.2011 Company 3 proves RED Epic 5K 3D stereo workflow with SCRATCH on "Pirates of the Caribbean: On Stranger Tides"
07.04.2011 ASSIMILATE Announces Full SCRATCH Support for RED Epic 5K Camera
24.03.2011 ASSIMILATE Selects Sniper Systems as its Sales Arm in South India
10.03.2011 ASSIMILATE Unveils Next Evolutions Of SCRATCH...
01.02.2011 ASSIMILATE Strengthens North American Operations with...
18.01.2011 ASSIMILATE Congratulates Stuck On On, Offhollywood...
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11.01.2011 SCRATCH 5.2 now supports RMD, REDGamma2, and REDColor

Richard Linklater’s “Boyhood” Takes Home Golden Globe for Best Motion Picture Drama

Santa Clara, CA, January 12, 2015– At the 72nd Annual Golden Globe Awards on January 11 at the Beverly Hilton Hotel, director Richard Linklater’s “Boyhood” won the Best Motion Picture Drama award. ASSIMILATE congratulates Parke Gregg, and his team at post house Stuck On On in Austin Texas, for the full post production of the film using ASSIMILATE’s SCRATCH Digital Workflow Tools.

Filmed over 12 years with the same cast, “Boyhood” is a groundbreaking story of growing up as seen through the eyes of a child named Mason (Ellar Coltrane), who literally grows up on screen before our eyes. Ethan Hawke and Patricia Arquette star as Mason’s parents. The following is an interview with Parke Gregg just after the August 15 (2014) USA premiere of “Boyhood.” Greg discusses his work for “Boyhood” and his digital workflow and tools.

Q: What made the post-production and DI for “Boyhood” so challenging?

A: The simple answer is “everything.” But I think it’s pretty clear that when you have a long film (ten reels), shot on 35mm film for a few days every year over a span of twelve years -- shot by two different DPs (Lee Daniel and Shane F. Kelly) using different film stocks and an off-line edit in SD at 29.97 -- there are going to be multiple challenges.

For example, framing is typically something that is locked at the onset of a project, aside from a few re-frames for creative purposes. However, when a project has ever-changing gear and crew, things you take for granted tend to change as well. For each year of footage the framing was different and framing charts were only occasionally available. I had the telecine off-line footage to go by, but again, different operators/gear eliminated any hope of a standard framing for the project. Often the offline didn’t even match the framing charts when available, so it became a subjective matter. Some were shot at 4 perf and some at 3 perf as well. Some framed for an optical track, some not. This, like many other aspects of the DI, became a manual and tedious process.

We had the full frames scanned at 2.5K so we would have plenty of resolution for cropping and framing and still make a 2K delivery. Fortunately, SCRATCH has great tools for handling this, whether the task is mostly automated or significantly manual. Another issue was matching back the time code to the film negatives. Fortunately, assistant editor Mike Saenz did an amazing job of working with Cinelicious to get the film scans completed correctly. Cinelicious needed an EDL, not a keycode cut list, for their scanning process. The problem was that because tape dailies were used, with multiple lab rolls on each tape, the EDLs would have no intrinsic relation between keycode and time code, or between lab rolls and tape numbers. To correlate the two sets of information, Mike had to find the hole punch at the beginning of each lab roll or a significant frame and match it back to the dailies time code and tape number. Cinelicious would then assign this time code to each roll that ultimately matched the EDL. Again, it turned into a very manual and tedious process. Back at Stuck On On, we converted the EDLs to 24fps and then took on the challenge of conforming the scans and matching it back up to the offline. By the nature of a reverse pull-down at edits, you lose or gain a frame here and there. This usually washes out in the end, but when working with this many reels we had to be very careful not to accumulate extra frames that would cause audio sync problems when all was compiled into a single timeline. It’s funny how just a few years ago, working in a 29.97 offline environment was normal, but now it’s totally archaic and we really had to dust off the cobwebs to remember how all this could work.

The schedule was another considerable challenge. The edit for the final year wasn’t locked when we started the DI. Rick had just wrapped on the last two scenes when I began working on the conform in late August (2013). Also, the edit was “malleable,” so periodically updated edits or new scenes were coming in. In addition, the scans from Cinelicious were coming to us in batches as well as new scans for editorial updates. So throughout the first part of the project, we didn’t have all the elements and we needed to stay flexible to incorporate new components, which all required a lot of organization. Allison Turrell is my business partner and also our DI Producer. Having her is absolutely key to successfully pulling off big projects like this for a small shop like us.

Q: How did you create a cohesive look with film shot over 12 years and by two different DPs?

A: Sandra Adair is the co-producer and has been Rick’s editor since his second film, “Dazed and Confused.” He trusts her decisions and she puts her all into driving the process. She did a masterful job of editing all the film into a smooth and cohesive story. Once the edit was locked she moved into a creative-producer role and was very hands on during the conform and color grading process. Rick wanted to establish a very natural, real-life, human feel to the film – not over stylized in any way. Sandra, he, and I collaborated on defining that look and it naturally evolved over the course of the project. Most people who’ve seen the film comment on how smooth it feels, how the years just blend together.

This is largely due to the excellent editing, but two primary goals of mine were to ensure that the look of the film enhanced this seamlessness and to minimize visual distractions that were sometimes a result of this unique production. Rick’s work style is very collaborative and he put a lot of trust in us. He gave global comments and relied on us to make it happen. During review sessions, he would correct us if we were on the wrong path, but made it clear that he wants our input and he gives everyone he works with a lot of latitude. This can be very invigorating, but it also means you hold a lot of responsibility. I really enjoy this phase of post-production – the challenge of contributing to the creative component of the film and enhancing the storytelling. Of course there’s the technical component, which is also rewarding, but SCRATCH’s tools really ease the tricky aspects of a DI, while allowing for more attention to the creative.

Q: Tell us more about the technical challenges for “Boyhood.”

A: The entire post process is a testament to problem solving – there’s always a way to get something done. I had a tremendous amount of material to get into good shape, which required a significant amount of time and energy in the post process -- removing the dirt, grain, noise, blemishes, and adjusting the focus. The color was no less significant but it was more about creating a consistency and removing distractions to make the story shine. The SCRATCH tool set allows us to push the envelope in color grading and finishing, and make changes in real time so that the workflow is smooth and seamless.

Q: How did you manage the visual effects?

A: We worked with Nick Smith who handled the heavy lifting of the more traditional VFX work like green-screen replacement and helicopter-shadow removal. On several shots, He would send me his work with alpha channels so I could do the final composite in SCRATCH while retaining full color control of the background plate and VFX separately. This was very beneficial and an efficient way to maintain a consistent, natural look for these scenes. I was able do several of the remaining visual effects directly in SCRATCH during the DI. This involved microphone/boom removal, speed shifts, poster and artwork replacement, screen replacement, etc. At the very end of the project, there were some copyright issues with logos and posters seen in the background of a couple scenes. We were already at the deadline for final delivery, so again it proved very valuable to have these editing and compositing tools directly in SCRATCH.

I was able to replace posters/artwork, track camera movement, track and mask people walking in front of it, and make a single, first-generation render of the color and VFX changes – all at the same workstation. This also allowed us to keep the same file structure/naming convention as previous renders, which is huge when working with large image sequences. This film has almost 241,000 frames.

Q: Given all the challenges of this film, did you have adequate time to do all the post and DI?

A: Actually this was another considerable challenge. The decision had not been made to go to Sundance until the end of December so we all needed to pick up the pace to meet that deadline. A version for screening was sent off to Sundance and later played at the Berlin International Film Festival. There, Rick took home the Silver Bear Award for Best Director, which was exciting but our work was not complete. Starting again in March, we performed another complete color pass, as well as a considerable amount of dust-busting and added several additional VFX shots. An equal amount of audio work was being done as well. This was all working towards a theatrical distribution beginning in June.

Q: What were your final deliverables?

A: DCP was the primary final deliverable. For the early screenings, we did the translation to P3 XYZ directly in SCRATCH. It is incredibly convenient to have good color-space management tools built into SCRATCH. However, at the end we delivered RGB Tiff sequences that another facility used to generate DCP, HD-CAM, and a film-out for the production’s archive.

About ASSIMILATE

ASSIMILATE is the premier provider of digital workflow and post-production tools that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH and SCRATCH Lab products, running on Windows and Mac OS X, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs, DITs, and post artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the ever-present challenges of increased creativity and productivity amid ever-shrinking budgets. SCRATCH is the most comprehensive, end-to-end digital cinema and broadcast imaging tool for dailies, conform, versioning, color grading, playback, compositing and finishing for nearly all popular digital workflows, including, RED, ARRI, Sony F65 and F55, Canon 5D, Phantom, Go Pro, Oculus Rift, and many more.

To download a 90-day free trial of SCRATCH products, see www.assimilateinc.com