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Filmfest
2003 Munich
The
focus of the presentation was to highlight
the possibilities and advantages of digital
film grading and HD-Mastering. Henning Rädlein,
head of the ARRI digital film department
in Munich, explained how to save more money
and to be even more creative, when working
with 3 perf material. "You can save up to
25% on negative stock, developing and lab
work", explained Henning Rädlein, "if you
work within the classical workflow you can
also save money on copies or on the intermediate
positive material. In terms of creativity
more takes are possible. While working with
3 perf magazines your runtime amounts 13
minutes, with 4 perf you only have 10 minutes
available. Formats like, 1:1,85, 1:2,35
(Cinemascope), are also feasible. Another
important issue is, that you are working
with the same picture area per frame as
if working with 4 perf, that means you do
not have a smaller negative, but you save
the not used aspect ratio in the picture.
To achieve these advantages you need to
work under the following conditions: a camera
that offers 3 perf film transport, like
the ARRICAM, the ARRI 535, or the ARRI 435.
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In our
in-house lab at ARRI we provide our clients
with exact negative cutting and on demand
we deliver optical transfer on 4 perf material.
At ARRI digital film we carry two Ursa and
one spirit machine for film scanning. For
the final presentation we also make film
projection in our nearby movie theatre or
via the ARRI LocPro available. At ARRI you
can work within the full production chain
for 3 perf: from camera, lab, analog or
digital mastering, to scanning and film
projection."
Furthermore
Henning Rädlein raised the question,
why 3-Perf fits into the digital mastering
process? "Because of the format,"
says H. Rädein, "out of 16:9 you
can deviate everything, from 16:9 scanning
and mastering, 1:1,85 or 1:2,35 film recording,
16:9 HDTV electronic mastering for international
releases, master tapes for TV, DVD or Video
in 4:3 Pan Scan, 16:9, 1:1,85, 1:2,35, to
PAL and NTSC."
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there is more. During color correction you
can use special options like pushing, or bleach
bypass in your Negative and Positive film
material. Within digital color grading you
have many more possibilities, working on color
space, color saturation or brightness, dynamically
and within different regions of your image.
With
ARRI´s new ColorManagementSystem (CMS, for
further information please click
here) you are able to Pre-View the representation
of the film colors on your HD-Video monitor.
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ARRI already successfully worked on several projects
taking advantage
of the digital workflow described above. Just
to mention a few:
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1. All The Queen´s Men Super 35 scanned on our
Thomson/ Philips Spirit with Pogle
Pixi color correction and grain reducer DVNR
1000, CS squeezed and recorded
with our award winning ARRILASER system on 5244
Intermediate positive
material.
- 2.
Mondscheintarif 35mm 1:1,85, Spirit, Pixi, DVNR,
ARRILASER.
- 3.
Wie Feuer und Flamme Super 16, Spirit, Pixi,
DVNR, ARRILASER.
- 4.
Heaven 35mm 1:1,85, Spirit, Pixi, DVNR, HD Mastering.
All
motion events and dissolves were generated automatically
in our AVID Online Suite
ARRI
digital film offers the following equipment for
your HD production:
Spirit
Data Cine with Pandora Pogle Pixi and Noise
Reducer
Online Server
Avid HD/DS/Nitris
HDCam, HDD5, HDCam SR, DTF 2
2 x ARRILASER on 5242 Intermed (Positiv or Negativ),
5245 Kameranegativ or 5231 S/W-Negativ in all
formates (1:1,66, 1:1,85, 1:2,35, Super 35,
on request we also deliver Cinemascope)
The following feature films and a variety of commercials
have been
realized at ARRI´s digital film lab:
Wie
Feuer und Flamme (Digital Lab)
Mondscheintarif (Digital Lab)
All The Queen´s Men (Digital Lab, Visual Effects)
Bookies (Digital Lab) Heaven (HD Mastering)
Krieger und Kaiserin (HD Mastering)
Tattoo (Digital Lab)
Paris je t´aime (Digital Lab, Visual Effects)
Origins of Evil (HD Dailies)
Underworld (HD Dailies)
in
production:
Polly
Pin (working title) (3-Perf, Digital Lab)
In pre-production: Rosenstrasse (HD Mastering)
Sams 2 (3-Perf, Digital Lab, Visual Effects)
Porta Westphalika (3-Perf, Digital Lab)
Der Trixxer (3-Perf, Digital Lab, Visual Effects)
Heimat 3 (Visual Effects, Digital Lab) amm.
If you
have further questions we are more than happy
to assist you in
planning your production. Please contact:
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Arnold & Richter Cine Technik
Henning Rädlein
Türkenstrasse 89
D-80799 München
Phone: +49 (0)89-3809-1970
Fax: +49-(0)89-3809-1549
Email: HRaedlein@arri.de
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