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3cP works with data from any file-based camera, including the RED MX Sensor, Canon vDSLRs and—with additional codec software—Vision Research Phantom high-speed .cine files and Arri D-21 RAW files, and XDcam, P2 compatible. 3cP also supports footage from Panasonic, Sony, Panavision, Viper and Silicon Imaging digital cameras.
3cP is an apple-based system that allows color grading decisions to be made on-set by the DP and to communicate them directly to the colorist with of goal of avoiding creatively and production costly misunderstandings. Using 3cP, everyone in the post-production environment has a precise preview of color decisions for dailies, pre post, matching special effects, and Digital intermediate (DI) final color grading.
3cP is available for rental in one version and purchase in three versions - SL, SF and ST - each tailored to a specific type of filmmaker. As needs change and grow, upgrades are available to move from one version to the next.
Why do we need 3cP now?
For many years film technology perfected the process of color correction, thanks to rigorous standards and precise chemical and electronic procedures.
In the traditional negative-positive process cinematographers and timers in the film lab deal with very tightly regulated, controlled and measured characteristics of film images.
NEW! 3cP SET + POST Features:
• Supports the RED Mysterium-X sensor and new color science:
-- New FLUT, Shadow, and Tint controls
-- Support for REDcolor and REDgamma
-- New White Balance eyedropper tool
-- Histogram display in Footage Settings dialog
-- Ability to scrub footage in Footage Settings dialog.
• New support for HDlink Pro Box for Live color corrected previewing
• New support for generating Nucoda-style 3D LUTs
• Enhanced P2 file handling
• Improved video capture file handling
• New still-frame video capture option
• Improved batch rendering utilities
• New option to email LUT or CDL along with 3cP report
• Improved full screen display mode:• New ability to scrub footage while in full screen mode-- Footage always appears full size on monitor regardless of proxy settings
Current 3cP Features:
• All in one data management solution for any file based camera
• Support for the RED Rocket
• Support for the Academy/ASC LUT and CinemaDNG image data format.
• Full support for motion clips in addition to still images.
• Lighting previsualization for cinematographers
• Support for DPX, Cineon, and TIFF image sequences.
• Direct support of most file based native footage (RED, Arri, P2, Canon)
• Realtime playback of motion footage.
• Dailies generation with optional burned-in timecode and smart slates.
• Background processing of media backups and footage rendering.
• Print-to-video feature with output of linear timecode (LTC).
• Syncing of audio tracks to footage for dailies rendering.
• Backup of media files to up to three backup locations, with byte-by-byte verification.
• ALE (Avid Log Exchange) file generation for rendered output files. In addition, 3cP continues to offer a robust set of tools for color correction, 3D LUT generation, ASC CDL support, monitor calibration, and communication with post production.
Click here to request a full 3cP Manual
The situation changed in the last decade and continues to change. This is the age of digital and electronic images. Almost 95% of processed negatives / footage in the film and TV industries are not printed on film anymore, as it was until a few years ago.
While the negative-positive process utilizes tightly regulated, controlled, interdependent and measured parameters, the film-to-tape and digital transfer process has somewhere between 12 and 43 different non-standardized parameters.
Like IRE, percentage levels, voltage, chrominance level, gamma, pedestal, gain, etc. These are a few of the many parameters which affect quality of the transfer and finished images. The frustration of Directors of Photography who unable to see results of their work properly is understandable.
From these frustrations the 3cP system was created and perfected to help these DPs "sleep at night".
