American Cinematographer - March 2013 - 62

ing technologies and expert workflows that
are changing everything about motion
pictures,” says Michael Cioni, Light Iron
CEO. “[OffHollywood’s] founders, Mark
Pederson and Aldey Sanchez, have built an
impressive company that fully comprehends
and embraces file-based workflow across
production and post. As Light Iron absorbs
OffHollywood’s post operations, we will
push capabilities even further by bringing
new talent and new technologies that the
New York market hasn’t yet experienced.”
With the acquisition of OffHollywood’s facility on the eighth floor of 580
Broadway, Light Iron NY is now open for
business, offering a DI grading theater, DI
grading suites, a digital lab and an archive
center. Cioni has moved to New York to
oversee the new operations.
OffHollywood will continue as a
production service company, expanding its
camera-rental and support operations on
the fourth floor of the same building. In
addition, OffHollywood will be the New
York region’s exclusive provider of Light
Iron’s award-winning Outpost Mobile
Systems.
For additional information, visit
www.lightiron.com and www.offholly
woodny.com.
Colorflow Posts in Bay Area
Colorflow, a full-service post
company specializing in color grading for
independent films, documentaries, longform television and similar projects, has
opened a state-of-the-art facility in the
historic Saul Zaentz Media Center in Berkeley, Calif. The 7,500-square-foot facility
features three color-grading and finishing

March 2013

suites and a DCI-compliant grading theater.
Colorflow has recently provided
color-grading and finishing services for a
number of films, including A River Changes
Course, a documentary that premiered at
the 2013 Sundance Film Festival.
Founded in 2009, Colorflow blends
a boutique-style environment with talented
colorists and next-generation technology.
“We needed a larger facility with a more
robust infrastructure and a theater environment in order to properly service the type
and number of projects we are attracting,”
says Alexander Black, Colorflow’s managing
director.
DI supervisor Alexander MacLean
adds, “We have done a careful job in
balancing the creative and the technical in
the new facility. Every infrastructure decision
was made in service of the creative process
for our artists and clients.”
The centerpiece of the new facility is
its DI grading theater, which includes seating for 20, a Christie 2K digital cinema
projector, a 20' screen and a latest-generation Autodesk Lustre color-grading system.
Three HD color and finishing suites feature
Assimilate Scratch, Autodesk Smoke and
Blackmagic Design’s DaVinci Resolve. All of
the company’s resources are linked via a
high-speed fiber-optic network that allows
seamless access to HD, 2K and 4K media in
any suite. Its infrastructure is fully file based
and can accommodate raw media from all
digital cinema cameras, including Red Epic
and Scarlet, Arri Alexa, Canon C300 and
C500, and Vision Research Phantom.
“Our theater mixes the best of all
I’ve seen over the years at post facilities
around the globe,” says Kent Pritchett, the

American Cinematographer

company’s lead colorist. “I can’t imagine a
better working environment, and I am
thrilled to offer this environment to clients.”
For additional information, visit
www.colorflow.com.

Assimilate Rents Scratch
Through its online Assimilate Store,
DI and dailies software provider Assimilate
now provides professionals the option to
rent the company’s Scratch and Scratch Lab
software for as little as a day or as a long as
three months. These new rental options
allow artists to pay for Scratch and Scratch
Lab only when they need it.
“Scratch Lab drove innovation into
the production dailies world because it was
the first product that delivered all the power
and flexibility of a world-class dailies system
at a price on-set professionals could afford,”
says Steve Bannerman, vice president of
marketing at Assimilate. “And today, we’re
raising the bar yet again. Scratch Lab is the
first production dailies product to offer true
pay-as-you-use rental options that are available online anytime, anywhere. It can’t just
be about product speeds and feeds
anymore. It has to be about fitting the new
way on-set professionals work, making
them more productive and helping them
make money.”
Artists can activate their Scratch or
Scratch Lab license for one day (for $150 or
$50, respectively), one week ($800 or
$250), one month ($2,100 or $650) or
three months ($6,000 or $1,800). (Pricing
includes maintenance and support during
the activation period.)
For additional information, visit
www.assimilateinc.com.
●

http://www.colorflow.com http://www.lightiron.com http://offhollywoodny.com http://offhollywoodny.com http://www.assimilateinc.com

American Cinematographer - March 2013

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