Cinnafilm and ARRI announce collaboratively that ARRI will be providing Relativity Texture Control software (version x) solutions to its. “ARRI Relativity is a ‘Swiss army knife’ for format conversions and restoration and the first marketable software suite to build on our Pixel. When Arri’s scanning and telecine software Relativity was announced last year, the industry was hugely impressed with the de-graining and.

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For our current film, Roland Emmerich’s “Anonymous”, a drama about Shakespeare yes, you read this right. No end of the world.

Before I dive into the specifics, ladies and gentlemen, let me announce right here, on this blog, that. Yes, all you physical-analog-film-lovers, I said it.


Both these two digital cameras simply blow film out of the water. Now, to be honest, I wish the names of these two would be more celebratory relarivity such an event my guess is the “mysteriumX” was named by the creators of “Godzilla vs Mothra”, and the “ALEXA” for somebody’s girlfriend? But that’s beside the point.

The point is, both these cameras can do what you could not accomplish with any film stock, not in your wildest dreams. Here’s how they relativitg. For instance, we shot two stops under equivalent of ASA without any significant addition of noise. But even with that starting point, it’s possible to underexpose significantly with only little loss.


We actually went so far to test 4 stops under, the equivalent of 12, ASA!

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And, while of course extreme, I would not be beyond saying it’s usable for a certain type of shots documentary style. Reltaivity RED records to their own RED RAW format, at x resolution, which is currently only supported via the redcineX in beta software, but is already also being implemented by other software packages, such as Digital Fusion and Baselight.

In terms of file size, the Redraw 42 and JPG are fairly similar. JPG is a 1: The Redraw comes to about 1.

Anna started with Roland as DP for the miniature shoot of “Independence Day”, and advanced to second unit director on many of his films, and is now also a director she directed episodes of “Criminal Minds”.

She prepared several lighting setups, one being a Vermeer-painting-like interior scene pictured and the other a greenscreen test setup, obviously of great importance to us.

It will be shown at NAB and delivered in June this year. So not gelativity the specs are finished yet. But I have to say, no matter what the final details will be – this is a damn fine camera, and the range of the chip is simply incredible.


So, it turns out that both cameras, in terms of performance of the chip, are very similar.

And I’m not saying this for some bullshit political correctness reason, but because it’s the truth. Since the ARRI is a prototype, and the RED software is still in beta, I don’t want to go into the finer details that we found, because they can arrl at any point in time.

Do to the limitations of this blog format, these are just downrez’d JPGs, but even here you can see what I’m talking about. I will prepare links to high-rez files soon. While you still need post noise reduction to get a perfect key in hair details or the semi-transparent collar of the lady in the picture, we only had to apply very little NR, and it didn’t create any visible softness in the picture.

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ARRI, Fujinon and Zeiss Join Forces |

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