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Rushes Leaps Forward With da Vinci Splice 2K's Nonlinear Workflow(April 20, 2009)
"Splice's nonlinear workflow and the wide range of supported file formats give us a head start in anticipating and addressing the ongoing media evolution," said Ron Kirk, president of Rushes. "The way that people want to access their entertainment — whether via gaming consoles, the Internet, or even mobile devices — is changing continually. Yet their expectations of quality are not. With Splice, we're able to take a leap to the next level of color grading with a nonlinear, data-based workflow that is adapted to the evolving media formats. We're confident that Splice will help us to provide a higher level of service to our existing clients while also providing us with a pathway to new customers and markets. It was a forward-thinking addition to our arsenal of tools."
Colorists use Splice to access digital image files directly from a SAN, DAS, or internal storage and then perform a full range of color grading tasks. And because Splice can be controlled directly from the 2K Plus interface, colorists harness and blend the power of a nonlinear workflow — including jumping instantly from one scene to another, or rearranging shots in a timeline — with the familiar controls and sophisticated toolsets of the 2K Plus for little to no learning curve.
Powered by da Vinci's Transformer(TM) II sizing engine, Splice 2K delivers premium-quality pan, tilt, zoom, and rotate capabilities — all in real-time on high-resolution source images. Splice provides the Rushes staff with a new ability to resize and reposition image data to match customer needs and requests, without waiting for the delay of rendering. Rushes also has configured its Splice system to support all four of the company's telecine bays.
Rushes currently is using the Splice 2K system to support projects in SD, HD, and in 2k resolutions. Splice enables Rushes colorists to ingest material from a wide range of sources, such as RED camera files converted to the DPX format, or Final Cut Pro projects outputted as QuickTime movies. With Splice, Rushes colorists have the ability to put a high-end finish on all of the company's projects, even file-based projects that typically would not have access to sophisticated color grading tools. As its customers' needs change, Rushes can elect to upgrade its Splice 2K into a Resolve® R-series system to support 4K processing as well.
"Rushes is a long-time leader in film-to-tape color correction. It's a natural evolution for the company to step into the next generation of nonlinear color grading," said Dean Lyon, da Vinci's vice president of marketing. "As their bridge to the future, Splice extends the life and capabilities of Rushes' 2K Plus investment while also providing a clear upgrade path to our Resolve R-series."
More information on Splice 2K and da Vinci's full line of color grading and image enhancement systems is available at www.davsys.com, or by visiting da Vinci at the 2009 NAB Show, booth SL3314.
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Established in 1995, Rushes specializes in providing film-to-tape transfers and other post-production services for clients in the commercial, episodic, and film industries. With four telecine bays and an experienced team of post professionals dedicated to meeting the needs of its clients, Rushes offers a full range of services, including da Vinci color correction in data, HD, and SD; HD and SD film-to-tape transfers; Vista-Vision and 6 Perf Spirit telecine services; HD and SD finishing; dual-sync dailies; DVD dailies; digital intermediates; and NTSC, PAL, and HD downconversions. For more information, visit www.rushes.tv.
About da Vinci Systems®, LLC
da Vinci Systems, a JDSU company, is the leading provider of color enhancement and image restoration products used in post-production facilities worldwide. Incorporating the company's Emmy® Award-winning technology, da Vinci's products support SDTV, HDTV, data, and digital film. Since the introduction of the company's first color corrector in 1984, da Vinci has been a front-runner in the field of image enhancement, shaping color enhancement into the vital role it holds in post-production today. The company is headquartered in Coral Springs, Fla., with offices in Los Angeles, New York, London, France, Germany, and Singapore.
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