View the "3cP at a glance"presentation.

Two Versions Provide the Right Solution for All Users

3cP is available for purchase in two versions - 3cP/st, and 3cP/sf - each tailored to a specific type of filmmaker. As needs change and grow, upgrades are available to move from one version to the next.

3cP/st
is the entry-level version of 3cP, providing basic color consistency tools and directly connecting to the Apple(R) Color and Synthetic Aperture(TM) Color Finesse(R) color correctors. 3cP/st supports capturing images from digital video cameras using FireWire/DV and HD-SDI connections, as well as via digital still cameras. Color correction information may be sent to post-production on CD-ROM or can be transferred electronically using an Internet connection.

3cP/sf
includes all the features of 3cP/st and also has support for the ASC CDL and exporting 3D LUTs, as well as direct hardware support for the Leader Portable SDI Rasterizer as an image capture device, and for Cine-tal(TM) monitors for live on-set video previewing. This version also adds a wider selection of color presets, including Kodak and Fuji film stocks.

	Both versions include a Gamma & Density color chart for HD digital workflow.
Pricing: 3cP/st - $599 3cP/sf - $1997

Technical Highlights of 3cP:

3cP works with film, digital intermediate (DI), video (NTSC/PAL) and HD productions. Resolution independent. ASC CDL compliant.

Color corrections and metadata are easily electronically transmitted from the set to the telecine or DI suite via an Internet connection or CD-ROM.

Reference images make it easy to pre-visualize future results and achieve accurate color grading thanks to the many tools available:

• Exposure tools
• Printing lights, gamma (contrast), and density
• Video Levels, hue, and saturation
• YRGB gain, gamma and pedestal
• Customized profiles (for film stocks, processing, RGB curves, filters, etc.)

Presents all color and tonal corrections in terms understood by both cinematographers and colorists: printing lights, IRE units, millivolts, f-stop differences, etc., while unifying them all using the simple G&D Thorough Control System.

For unmatched precision, 3cP makes it possible for colorists to see reference images from the set, and scanned images from the film negative, to be seen on the same monitor in the telecine suite.

Floating-point color correction ensures full precision and latitude for all color correction operations.

Provides an objective view of all changes via familiar waveform monitor, vectorscope, histogram, and channel curve displays.

3CP works easily within your current production workflow and allows you to optimize the post-production workflow and transfer of color correction adjustments.

Uses the patented Gamma & Density Thorough Control System chart for superior consistency and correctness in video and HD transfers.

To ensure preview accuracy, all elements in the color correction workflow (input devices, previewing and telecine monitors, and HD and film projectors) are calibrated using the proprietary Thorough Control System technology.

For needs of HD productions, converts the green-tinted, low-contrast FilmStream images from the Thomson Viper HD camera to full-range photographic quality images, allowing the DP to monitor and preserve the artistic and technical integrity of their vision.

The 3CP system was first used by DP Checco Varese on the set of the ABC movie of the week Their Eyes Were Watching God (2005), starring Halle Berry. An avowed fan of G&D’s Telecine Color Control Chart, he jumped at the opportunity to be the first to use the new tool.

"I am a longtime admirer of Yuri’s work and the G&D Color Control Chart, which ensures my images turn out 90 percent the way I want them to be,” says Varese, “but 3CP makes the process even more accurate and 3CP’s film to video translation makes it easy for me to address problems on the set with quick solutions."

Another DP who embraced the 3CP solution is Jerzy Zielinski (Galaxy Quest, Dodgeball), whom has filmed the remake of Fun with Dick and Jane for Sony Pictures.

"I knew I would need a way to keep the dailies calibrated to my specifications, and 3CP gives me that level of control," says Zielinski. "Without it, the Telecine colorist could go off in hundreds of thousands of different directions, all away from the visual I worked so hard to achieve."

Read full article about 3CP software here

General Information about 3cP

3CP interface lay-out