Tag Archives: Assimilate Scratch

Lowepost offering Scratch training for DITs, post pros

Oslo, Norway-based Lowepost, which offers an online learning platform for post production, has launched an Assimilate Scratch Training Channel targeting DITs and post pros. This training includes an extensive series of tutorials that help guide a post pro or DIT through the features of an entire Scratch workflow. Scratch products offer dailies to conform, color grading, visual effects, compositing, finishing, VR and live streaming.

“We’re offering in-depth training of Scratch via comprehensive tutorials developed by Lowepost and Assimilate,” says Stig Olsen, manager of Lowepost. “Our primary goal is to make Scratch training easily accessible to all users and post artists for building their skills in high-end tools that will advance their expertise and careers. It’s also ideal for DaVinci Resolve colorists who want to add another excellent conform, finishing and VR tool to their tool kit.”

Lowepost is offering three-month free access to the Scratch training. The first tutorial, Scratch Essential Training, is also available now. A free 30-day trial offer of Scratch is available via their website.

Lowepost’s Scratch Training Channel is available for an annual fee of $59 (US).

Assimilate and Z Cam offer second integrated VR workflow bundle

Z Cam and Assimilate are offering their second VR integrated workflow bundle, which features the Z Cam S1 Pro VR camera and the Assimilate Scratch VR Z post tools. The new Z Cam S1 Pro offers a higher level of image quality that includes better handling of low lights and dynamic range with detailed, well-saturated, noise-free video. In addition to the new camera, this streamlined pro workflow combines Z Cam’s WonderStitch optical-flow stitch feature and the end-to-end Scratch VR Z tools.

Z Cam and Assimilate have designed their combined technologies to ensure as simple a workflow as possible, including making it easy to switch back and forth between the S1 Pro functions and the Scratch VR Z tools. Users can also employ Scratch VR Z to do live camera preview, prior to shooting with the S1 Pro. Once the shoot begins with the S1 Pro, Scratch VR Z is then used for dailies and data management, including metadata. You don’t have to remove the SD cards and copy; it’s a direct connect to the PC and then to the camera via a high-speed Ethernet port. Stitching of the imagery is then done in Z Cam’s WonderStitch — now integrated into Scratch VR Z — as well as traditional editing, color grading, compositing, support for multichannel audio from the S1 or external ambisonic sound, finishing and publishing (to all final online or standalone 360 platforms).

Z Cam S1 Pro/Scratch VR Z  bundle highlights include:
• Lower light sensitivity and dynamic range – 4/3-inch CMOS image sensor
• Premium 220 degree MFT fisheye lens, f/2.8~11
• Coordinated AE (automatic exposure) and AWB ( automatic white-balance)
• Full integration with built-in Z Cam Sync
• 6K 30fps resolution (post stitching) output
• Gig-E port (video stream & setting control)
• WonderStich optical-flow based stitching
• Live Streaming to Facebook, YouTube or a private server, including text overlays and green/composite layers for a virtual set
• Scratch VR Z single, a streamlined, end-to-end, integrated VR post workflow

“We’ve already developed a few VR projects with the S1 Pro VR camera and the entire Neotopy team is awed by its image quality and performance,” says Alex Regeffe, VR post production manager at Neotopy Studio in Paris. “Together with the Scratch VR Z tools, we see this integrated workflow as a game changer in creating VR experiences, because our focus is now all on the creativity and storytelling rather than configuring multiple, costly tools and workflows.”

The Z Cam S1 Pro/Scratch VR Z bundle is available within 30 days of ordering. Priced at $11,999 (US), the bundle includes the following:
– Z CamS1 Pro Camera main unit, Z Cam S1 Pro battery unit (w/o battery cells), AC/DC power adapter unit and power connection cables (US, UK, EU).
– A Z Cam WonderStitch license, which is an optical flow-based stitching feature that performs offline stitching of files from Z Cam S1 Pro. Z Cam WonderStitch requires a valid software license associated with a designated Z Cam S1 Pro, and is nontransferable.
– A Scratch VR Z permanent license: a pro VR end-to-end, post workflow with an all-inclusive, realtime toolset for data management, dailies, conform, color grading, compositing, multichannel and ambisonic sound, and finishing, all integrated within the Z Cam S1 Pro camera. Includes one-year of support/updates.

The companies are offering a tutorial about the bundle.

Bluefish444 releases IngeSTore 1.1, adds edit-while-record capability

Bluefish444 was at NAB with Version 1.1 of its IngeSTore multichannel capture software, which is now available free from the Bluefish444 website. Compatible with all Bluefish444 video cards, IngeSTore captures multiple simultaneous channels of 3G/HD/SD-SDI to popular media files for archive, edit, encoding or analysis. IngeSTore improves efficiency in the digitization workflow by enabling multiple simultaneous recordings from VTRs, cameras and any other SDI source.

The new version of IngeSTore software also adds “Edit-While-Record” functionality and additional support for shared storage including Avid. Bluefish444 has partnered with Drastic Technologies to bring additional CODEC options to IngeSTore v1.1 including XDCAM, DNxHD, JPEG 2000, AVCi and more. Uncompressed, DV, DVCPro and DVCPro HD codecs will be made available free to Bluefish444 customers in the IngeSTore update.

The Edit-While-Record functionality allows editors access captured files while they are still being recorded to disk. Content creation tools such as Avid Media Composer, Adobe Premiere Pro CC, and Assimilate Scratch can output SDI and HDMI with Bluefish444 video cards while IngeSTore is recording and the files are growing in size and length.

Assimilate Scratch and Scratch VR Suite upgraded to V.8.6

Assimilate is now offering an open beta for Scratch 8.6 and the Scratch VR Suite 8.6, the latest versions of its realtime post tools and workflow — VR/360 and 2D/3D content, from dailies to conform grading, compositing and finishing. Expanded HDR functions are featured throughout the product line, including in Scratch VR, which now offers stitching capabilities.

Both open beta versions gives pros the opportunity to actively use the full suite of Scratch and Scratch VR tools, while evaluating and submitting requests and recommendations for additional features or updates.

Scratch Web for cloud-based, realtime review and collaboration, and Scratch Play for immediate review and playback, are also included in the ecosystem updates. Both products support VR/360 and 2D/3D content.

Current users of the Scratch VR Suite 8.5 and Scratch Finishing 8.5 can download the Scratch 8.6 open beta. Scratch 8.6 open beta and the Scratch VR Suite open beta are available now.

“V8.6 is a major update for both Scratch and the Scratch VR Suite with significant enhancements to the HDR and ACES workflows. We’ve added stitching to the VR toolset so that creators have a complete and streamlined end-to-end VR workflow,” says Jeff Edson, CEO at Assimilate. “The open Beta helps us to continue developing the best and most useful post production features and techniques all artists need to perfect their creativity in color grading and finishing. We act on all input, much of it immediately and some in regular updates.”

Here are some details of the update:

• PQ and HLG transfer functions are now an integral part of Scratch color management.
• Scopes automatically switch to HDR mode if needed and show levels in a nit-scale; highlights any reference level that you set.
• At the project level, define the HDR mastering metadata: color space, color primaries and white levels, luminance levels and more. The metadata is automatically included in the Video HDMI interface (AJA, BMD, Bluefish444) for display.
• Static metadata has the function to calculate dynamic luminance metadata like MaxCLL and MaxFall.
• HDR footage can be published directly to YouTube with HDR metadata.

VR/360 – Scratch VR Suite
• 360 stitching functionality: load all your source media from your 360 cameras into Scratch VR and combine it to a single equirectangular image. Support for camera stitch templates: AutoPano projects, Hugin and PTStitch scripts.
• Ambisonic Audio: Scratch VR can load, set and playback ambisonic audio files to complete the 360 immersive experience.
• Video with 360 sound can be published directly to YouTube 360.
• Additional overlay handles to the existing 2D-equirectangular feature for more easily positioning 2D elements in a 360 scene.

DIT Reporting Function
• Create a report of all clips of either a timeline, a project or just a selection of shots.
• Reports include metadata, such as a thumbnail, clip-name, timecode, scene, take, comments and any metadata attached to a clip.
• Choose from predefined templates or create your own.

Virgil Kastrup talks about color grading ‘Ewa’ VR project

Post pro Virgil Kastrup was the colorist for Ewa, the latest venture into the world of virtual reality and 3D from Denmark’s Makropol. It made its debut at the 2016 Cannes Film Festival. According to Kastrup, it was a whirlwind project — an eight-minute pilot, with one day for him to do the color grading, versioning and finishing.

The concept is fairly simple. The main character is Ewa, and you become her, as she becomes herself. Through the eyes of Ewa, you will access a world you have never seen before. You will be born as Ewa, you will grow up as Ewa, and, as Ewa, you will fight to free yourself. “Out Of Body” is a crucial chapter of Ewa’s life.

Virgil Kastrup

In a recent chat, the Copenhagen-based Kastrup talked about the challenges of posting the Ewa VR and 3D project, and how he handled the color grading and finishing within the one-day deadline.

What was your main challenge?
The time constraints! We had one day to try out looks, color grade in VR and 3D, create versions for reviews and then finish in VR and 3D. We then had to ensure the look and final result met the vision and satisfaction of Makropol’s director, Johan Jensen.

How was the pilot shot?
Four GoPro cameras (two stereo pairs) were mounted on a helmet-rig the actress wore on her head. This created the immersive view into Ewa’s life, so that the viewer is “entering” the scenes as Ewa. When the DP removed the helmet from her head, an out-of-body experience was created. The viewer is seeing the world through the eyes of a young girl.

What material were you working with?
Makropol sent me the final stitched imagery, ProRes 4K x 4K pixels. Because the content was one long shot in eight minutes, there was no need to edit or conform.

What VR challenges did you face?
In viewing the Ewa pilot, the viewer is immersed in the VR experience without it being 360. Achieving a 360 aspect was a little tricky because the imagery was limited to 180 degrees, so I had to find a way to blank the rear part of the sphere on which the image was projected. I tested and tried out different solutions, then went with making a back gradient so the image fades away from the viewer.


What tool suite did you use for color grading and finishing?
I had a beta copy of Assimilate’s Scratch VR Suite. I’ve been using Scratch for 2D and other projects for years, so the learning curve for the VR Suite was virtually zero. The VR Suite offers the same of tools and workflow as Scratch, but they’re geared to work in the VR/360 space. It’s intuitive and very easy to use, which gave me a confidence boost for testing looks and achieving a quality result.

How did you handle the VR?
The biggest challenge was that the look had to work everywhere within the VR scene. For example, if you’re looking from the dining room into the living room, and the light was different, it had to be manipulated without affecting either room. The Scratch 3D tools simplify the 3D process — with a click of a button, you can set up the 3D/stereo functions.

Did you use a headset?
I did the color grading and finishing all on the monitor view. For my reviews and the client sessions, we used the Oculus Rift. Our goal was to ensure the content was viewed as a completely immersive experience, rather than just watching another video.

What impact did this project have on your view about VR?
A project like this — an eight-minute test pilot — doesn’t warrant the use of the expensive professional-grade cameras, yet a filmmaker can still achieve a quality VR result on a restricted budget. By using professional color grading and finishing tools, many issues can be overcome, such compression, lighting, hot spots and more. The colorist has the ability to add his/her creative expertise to craft the look and feel, as well as the subtle effects that go into producing a quality video or feature. This combination of expertise and the right tools opens the world of VR to a wide range of creative professionals in numerous markets.

Assimilate Scratch 8.5, Scratch VR Suite available for open beta

Assimilate is offering an open-beta version of Scratch 8.5, its realtime post system and workflow for dailies, conform, grading, compositing and finishing. Also in open beta is the Scratch VR Suite. Both open-beta versions give users the chance to work with the full suite of Scratch 8.5 and Scratch VR tools while evaluating and submitting requests and recommendations for additional features or updates.

Scratch Web for cloud-based, realtime review and collaboration, and Scratch Play for immediate review and playback, are also included in the ecosystem updates. Current users of Scratch 8.4 can download the Scratch 8.5 open beta. Those who are new to Scratch can access the Scratch 8.5 open-beta version for a 30-day free trial. The Scratch VR open-beta version can also be accessed for a 30-day free trial.

“Thanks to open-Beta programs, we get at lot of feedback from current Scratch users about the features and functions that will simplify their workflows, increase their productivity and enhance their storytelling,” explains Assimilate CEO Jeff Edson. “We have two significant Scratch releases a year for the open-beta program and then provide several incremental builds throughout the year. In this way Scratch is continually evolving to offer bleeding-edge functionality, as well as support for the latest formats, for example, Scratch was the first to support Arri’s mini-camera MXF format.”

New to Scratch 8.5
• Easy validation of availability of physical media and file references throughout a project, timeline and render
• Fast access to all external resources (media / LUT / CTL / etc.) through bookmarks
• Full set of ACES transforms as published by the Academy
• Publishing media directly to Facebook
• Option to launch Scratch from a command-line with a series of xml-script commands, which allows closer integration with post-infrastructure and third-party software and scripts

The new Scratch VR Suite includes all the features and functions of Scratch 8.5, Scratch Play and Scratch Web, plus substantial features, functions and enhancements that are specific to working in a 360 media environment.

Bluefish444 bundling Scratch 8 with its Epoch 4K Neutron

Bluefish444, which makes uncompressed 4K/2K/HD/SD SDI video cards, has released a software bundle consisting of the Epoch 4K Neutron SDI/HDMI solution and Assimilate Scratch 8, a realtime digital intermediate system.

The Epoch 4K Neutron has a new half-height form factor that allows for integration into a broader range of chassis, including low-profile servers, small form factor (SFF) computers and low-profile Thunderbolt expansion chassis. The full-height shield option allows for integration in more traditional workstation computers and meets additional I/O requirements like AES/EBU, and also provides RS422 machine control and domestic analogue audio monitoring. In addition, the solution supports 3G SDI I/O configurations to allow for 4K SDI workflows. An HDMI mini-connector enables a 4K/2K/HD/SD HDMI monitoring preview and allows for color-critical monitoring on consumer HDMI displays supporting Deep Color.

Epoch 4K Neutron Turbo

Other features of the Epoch 4K Neutron/Scratch 8 bundle include cross-platform Windows and Mac OS X support; 4K 30p fps HDMI monitoring, 8-bit/10-bit/12-bit SDI monitoring and 4K/2K/HD/SD mastering and monitoring; stereoscopic SDI output; 12-bit precision color space conversions; eight-channel AES digital audio I/O; and stereo analogue audio monitoring. The solutions are compatible with Thunderbolt 2 expansion chassis offered by Bluefish444-qualified third-party partners.

postPerspective met with Bluefish444’s Tom Lithgow at IBC. He gave us a run down of the bundle.

Killer wasps and an ’80s look for horror flick ‘Stung’

Rat Pack Films and XYZ Films movie Stung is an homage to the golden age of VHS, featuring a campy look of the 1980’s horror film genre. It’s proof positive that monster movies still exist in the world of low-budget horror/comedy.

They used an Arri Alexa 2K with Hawk anamorphic lenses to shoot the film. The anamorphic lenses produced a distinctive intensity that the filmmakers felt helped with the strong color definition needed to achieve a 1980’s look and feel.

Stung focuses on a fancy garden party gone terribly wrong when a colony of killer wasps mutates into seven-foot tall predators.

German-based freelance colorist Peter Hacker custom built — from top to bottom — his own PC-based compositing/grading workstation, equipped with an Nvidia 760GTX, an internal hardware RAID for storage and some SSDs for realtime playback. The calibrated NEC LCD monitors are supported by a Sony OLED screen in order to accurately judge the final color grading.

Peter Hacker

Hacker (pictured above)  has a strong background in visual effects and compositing, which is why he was hired to be the VFX producer and compositor, as well as colorist — more on that in a minute — for Stung (see the trailer here). Hacker has several years experience in color grading, working on numerous commercials for Mercedes, Audi and Fanta; a few indie features; and many shorts.

In collaboration with director Benni Diez and VFX supervisor Sebastian Nozon, he took over the post-production management of the movie. He was also in charge of preparing all the footage for the VFX shots and handed it over to the remotely working animation, rigging, modeling and compositing artists.

He also developed the movie’s look and was involved in the compositing of more than a hundred shots. However, schedule conflicts with the original color grading team required a new plan, and Hacker took on the color grading and finishing of the film as well.

Hacker’s weapon of choice for his post work on Stung was Assimilate Scratch. “As a student I had worked in Scratch at Filmakademie Baden-Württemberg and really dug into fully learning the system. I found it to be the most straightforward tool suite, and I still feel that way. As a freelancer working on a variety of imagery projects, it has all the realtime functions I need — conform, color grading, versioning and finishing – as well as some bells and whistles like VR capability. And it’s now at a price I can personally afford, which means that I, as well as all indie productions, can set up an at-home studio and have a second license on the laptop for hitting the road.”

“For Stung I created different looks during the first two days of grading because I didn’t have LUTs as a reference. It’s easy to create multiple looks for review in Scratch, and those LUTs are now in my archive for possible future use. Then I created a separate Scratch Construct (timeline) with all the movie’s master shots to ensure the look would work and to allow me to track the changes within the story, which were bound to occur due to changes of the seasons and different weather/lighting conditions within a sequence.”

Working Remotely, and on a Budget
The horror film genre is synonymous with low-budget production, so there was not a lot of wiggle room, which meant they had to get creative with workflows, especially since they were working and reviewing shots remotely.

The finishing team.

The finishing team at work.

The movie was shot in Berlin.  Dominik Kattwinkel and Benni Diez edited on Avid Media Composer in Cologne. Also working in Cologne were animators Waldemar and Harry Fast. Sebastian Nozon and Sascha Geddert did the compositing, lighting and rendering in Berlin. “I was doing parts of the compositing and finally graded the entire movie in Ludwigsburg,” explains Hacker. “To make all the data transfer possible among those numerous locations we used BTSync, which kept us all in sync without a hassle.” The Foundry’s Nuke and Adobe After Effects were used for compositing and Autodesk 3ds Max and Maya for 3D animation and rendering.

During editing, the number of visual effects shots increased from 150 to 600. “I had 8TB of storage for the Alexa material and some Red footage from the pick-up shoot. There were 1,600 edits in the film that runs for 84 minutes, so that gives you an idea of the project’s heavy workload — and all while being on a tight budget,” explains Hacker. “To ensure the data’s safety we had back-up RAIDs set up at several locations spread over the country. Furthermore, we separated the data being worked on from the back-ups, and scheduled the day’s work to back up during the night.”

“With a couple weeks left until delivery, the rendered shots (JPEGs, in the end replaced by DPXs) were transferred from Berlin and Cologne to me in Ludwigsburg where I dropped them into the Scratch timeline. With peer-to-peer uploaded previews of the film, or just smaller sequences, we all were continually on the same page.”

They used Skype for review conversations. “Two weeks before delivery we all came together in a small office space in Ludwigsburg to finish the compositing. At that time I switched from compositing to color grading for 12 straight days in a darkened tent in the corner of the room. It was a cheerful time with all of us finally sharing the same space and adding some final touches and even bringing some sequences to life for the first time. For viewing pleasure, I brought in my 55-inch Sony TV for a few relaxed reviews, which also sped up the process and helped to keep the budget in line.”

before after

These sessions included director Benni Diez watching back to back with Hacker. “It was very helpful that he could view and judge the color grading in realtime on a separate monitor without the need to watch over my shoulder all the time,” he says. “It was also crucial for all the VFX shots — Diez and Nozon immediately could discuss how they looked with the grading applied. It’s always a big challenge when it comes to CGI content being integrated into live action back plates. With the different nature of the content, they either fit together even better after the grading is applied, or not. Once in a while we had shots working completely fine in comps, but they got torn apart in the grading. Altogether, it was a magical experience to see all the elements come together right before your eyes, and literally any changes could be made on the fly.”

Hacker says one particularly helpful  Scratch feature, which he used a lot on Stung, was the ability to continue working while Scratch was rendering in the background. “That’s a huge timesaver and I wouldn’t like to work without it.”

Bluefish444 intros Epoch 4K Neutron Turbo cards, bundles with Scratch

Bluefish444 is offering its Epoch 4K Neutron Turbo high-bandwidth SDI video I/O card, which brings video formats to the Epoch 4K Neutron range that accommodate 4K/2K high-bandwidth workflows. Introduced at the 2015 NAB Show, Epoch 4K Neutron Turbo features Quad Link 3G SDI, 3G/1.5G/SD SDI input or output, 4K/2K/HD/SD HDMI preview, 4K/UHD high-frame-rate 50/59/60 fps SDI, tri/bilevel genlock, eight channels of AES/EBU audio input and output, two channels of analog audio monitoring output, RS422 machine control and auxiliary genlock connection.

The company has created an upgrade path for existing Epoch 4K Neutron customers who do not initially need the Turbo’s advanced 4K/2K video mode support. Those customers can buy the Epoch 4K Neutron Turbo upgrade board anytime within two years of purchasing their Epoch 4K Neutron video cards. Epoch 4K Neutron Turbo and the Epoch 4K Neutron Turbo upgrade boards are compatible with both the Bluefish444 cross-platform SDK and the Bluefish444 retail installer, which supports popular Bluefish444 and third-party software.

In related news, Bluefish444 announced the immediate availability of an Epoch 4K Neutron and Assimilate Scratch v8 software bundle.

For the bundle, Bluefish444 has redesigned the Epoch 4K Neutron card with a low-profile, half-height form factor to integrate into a wide range of chassis, from low-profile servers to small-form-factor computers to low-profile Thunderbolt expansion chassis. The full-height shield option allows for integration in more traditional workstation computers and provides additional I/O requirements, such as AES/EBU, RS422 machine control, and domestic analog audio monitoring. Epoch 4K Neutron supports 3G SDI I/O configurations for 4K SDI workflows. An HDMI mini connector provides a lower cost 4K/2K/HD/SD HDMI monitoring preview and allows for color-critical monitoring on consumer HDMI displays supporting Deep Color.

Epoch 4K Neutron supports Scratch v8 features such as 4K 30fps HDMI monitoring, 8-bit/10-bit/12-bit SDI monitoring, 4K/2K/HD/SD mastering and monitoring, stereoscopic SDI output, 12-bit-precision color-space conversions, and many more. The Epoch 4K Neutron Turbo upgrade path enables previews of 4K 48/50/59/60 fps SDI signals and stereoscopic 2K/HD 60 fps 12-bit SDI signals.

In Related News
Also at NAB, Bluefish444 announced it has added support for greater-than-HD video formats in Avid Media Composer 8.3, enabling advanced SDI/HDMI video output with Epoch 4K Neutron Turbo, the Epoch 4K Neutron range, and the Epoch 4K Supernova/S+ range of video cards. At the same time, the company has developed support for Avid Pro Tools 12, enabling video output with Epoch 4K Neutron, Epoch Neutron, and the Epoch 4K Supernova range of video cards. SDI and HDMI video preview capability will enable audio editing with real-time, synchronized video on pro displays and projectors. A free software upgrade for Avid Media Composer 8.3 users and a free driver upgrade for Avid Pro Tools 12 users will both be available from the Bluefish444 website in the second quarter of 2015.

Finally, Bluefish444 will support the latest updates to Adobe Creative Cloud when it becomes available in spring 2015.

Doctor helps patients climb mountains with 4K/5K imagery

This space is typically held for articles about broadcast, film, web or corporate projects, but this particular story was just too compelling to ignore. So to quote Monty Python, “And now for something completely different.” I think you’ll enjoy it.

Trek Visions is a company that is visually bringing the world to patients recovering from catastrophic physical and mental injuries with its proprietary software that runs on 42-inch TV monitors at rehab facilities.

What started as a hobby for Trek Visions CEO Dr. Joseph Ludwig has evolved from recording his encounters during climbing expeditions of the world’s most rugged and mountainous terrain to professional physical-rehab applications currently used at the TIRR Memorial Hermann Continue reading

Bluefish444 offers new SDI features for Adobe CC, Media Composer 8, Scratch 8

Over the past week or so, Bluefish444 has made multiple announcements focused on an updated Windows Installer (V5.12.0) for its SDI input/output cards specifically for partner products Assimilate Scratch 8, Adobe Creative Cloud 2014 and Avid’s Media Composer 8.

Bluefish444 has released Windows installer 5.12.0, a Windows 7/8 driver compatible with the Epoch|4K Supernova and Epoch|Supernova S+ cards supporting new high frame rate YUV SDI output from Assimilate Scratch 8 software.

New support includes: 4K SDI output as 4096×2160 at 60fps and a much anticipated 2k/4k at 48fps SDI output.

 Bluefish444’s 5.12.0 Windows 7/8 installer support for Adobe Creative Cloud (2014) includes compatibility with all Create, Epoch and Epoch 4K Supernova video cards.

This free release also provides added functionality for live capture of 4K SDI as 4096×2160 at 60fps from digital cinema cameras using Epoch|4K Supernova and Adobe Premiere Pro CC 2014. 

The 5.12.0 Windows7/8 installer is a major update for Adobe After Effects CC 2014 users, adding 4K/2K/HD/SD RGB/YUV SDI output, full support for Adobe Mercury transmit and audio monitoring through ASIO 64.

“Bluefish444 has lifted the bar for 4K SDI high frame rate workflows with new 4K 60p SDI capture through Adobe Premiere Pro, 4K 60p SDI preview through Adobe After Effects and Assimilate Scratch 8,” says Tom Lithgow, Bluefish444 product specialist. “Bluefish444 is committed to offering our customer base the full gamut of 4K 60p workflow options and our new Windows 7/8 installer extends that support to Bluefish444 Adobe and Assimilate customers.”

Windows Installer 5.12.0 is also compatible with all Bluefish444 Epoch hardware and the Create | 3D Ultra supporting dedicated HD 1080p 30 YUV/RGB SDI I/O for Avid Media Composer 8 and Avid Symphony.

The new installer is freely available for all Bluefish444 Epoch and Create customers from the Bluefish444 homepage and is compatible with the complementary Bluefish444 Symmetry and Bluefish444 Fluid applications: IngeStore and DNxHD IngeStore.