Theo van de Sande, ASC used 3cP on the current film, "Just Go With It" and on past features, “October Road" "College Road Trip" "Yours, Mine and Ours”

“3cP is very simple to use. It is a visual guide through the entire photographical process, from the transfer of the film negative to HD-dailies, the editing, the Visual Effect, until the Digital Intermediate.”

Rodrigo Prieto, ASC AMC used 3cP on “State of Play” and “Babel”

“Both myself and the director were consistently happy with the results, and I could relax and watch video dailies without fretting about how the colorist would interpret the images.”

Ousama Rawi, BSC CSC used 3cP on all four seasons of “The Tudors” and “Ben Hur”

“Every scene was transferred accurately. The final timing sessions took less than half the allotted time to complete. That is remarkable.”

Roberto Schaefer, ASC used 3cP on “Quatum of Solace”, “The Kite Runner” and

“Stranger than Fiction”

“When you can show to your colorist a picture and vectorscope image of exactly what you want your film to look like, then you’ve got it made. 3cP give me that tool.”

Ueli Stieger, ASC used 3cP on “10,000 B.C.”

“3cP is the first step on the road of communication between DP and Colorist. It is like a road sign – all 3cP features make this road shorter and more manageable. It works!”

Checco Varese, ASC used 3cP on “Their Eyes Were Watching God”

“The best tool I’ve ever used! 3cP takes away the guessing associated with video dailies and replaces it with calibrated and consistent images. It is simple and precise.”

Michael Fimognari - used 3cP on "Au Revoir Taipei", "Leave" & "The Last Harbor"

"3cP allowed me to communicate color correction points with the lab in Taipei since I don't speak Chinese or Taiwanese. We were all over the city streets in mixed color temps, often shooting on the fly without a gray card, yet all the dailies (both print and video) were spot-on thanks to 3cP."

Brook Willard DIT Local 600 used 3cP on “Southland” and the upcoming “Shameless”

Tim Sutherland DIT Local 600 uses 3cP

Blair Paulsen DIT - 4K Ninjas (4KNinjas.net)

"The 3cP solution is one of the best color management systems I have seen. The GUI is wonderful, it handles oodles of source formats and provides the ability to use multiple LUTs to manage input variables, color space conversions and display profiles. It is limited to rec709 color space, which is both a strength (its a widely used standard that is available on all professional monitors I have seen in the last few years) and also a limitation for those who plan to finish in P3 (DCI) color space."

Skip Kimball – Senior DI colorist. Modern Videofilm

“3cP is quick, clear, and concise. It helps colorist by speeding up the Preview and DI process by bringing production and post together on the same page from day one”

Michal Dabal – American Film Institute

"I used 3cP on my graduate thesis film "MY FIRST CLAIRE". The dailies looked on the screen just the way I wanted them to look - it worked beautifully. It's a perfectly intuitive system."

Philip Klucsarits – University of California, Los Angeles

“I’ve used 3cP on several projects and I found it to be a very helpful program.  I was able to use its data management and color correction tools to create looks on set. Not only was it nice to have color corrected dailies, but it also helped save money in post by having the accurate look information I created on set to take into the final color correction.”