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#1 Kenny N Suleimanagich

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Posted 08 January 2007 - 09:12 PM

Have any of you had the chance to use it for your film? It's by far the most innovative printing machine I've ever seen. I was at Arri Burbank last week and they had one opened up. The insides are like a work of art.

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#2 David Mullen ASC

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Posted 08 January 2007 - 09:18 PM

It's pretty much the workhorse film recorder for D.I.'s and HD-to-35mm transfers. I've had six features transferred to 35mm IN on an Arrilaser, four shot in 24P HDCAM, one HDCAM-SR D.I. ("Shadowboxer") and one 4K-to-2K D.I. ("Astronaut Farmer".)

It's not for normal film printing, just recording digital files to 35mm.
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#3 Kenny N Suleimanagich

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Posted 08 January 2007 - 09:52 PM

It's pretty much the workhorse film recorder for D.I.'s and HD-to-35mm transfers. I've had six features transferred to 35mm IN on an Arrilaser, four shot in 24P HDCAM, one HDCAM-SR D.I. ("Shadowboxer") and one 4K-to-2K D.I. ("Astronaut Farmer".)

It's not for normal film printing, just recording digital files to 35mm.

What the director and cinematographer of this recent project I A.C.'d on are doing was shot super35, ArriScan it to 4:2:2, did telecine, then are going back to film with Arrilaser, which I would say is the highest quality D.I. for a project I've worked on. And though I'm sure you arent amazed by such a process, when you're a high school junior like me it's more amazing than seeing the biggest diamond in the world in your hands.
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#4 David Mullen ASC

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Posted 08 January 2007 - 10:57 PM

I'm not sure you are describing the post path right -- 4:2:2 is a video format, not a digital scan, and you wouldn't both scan and then telecine the film. Telecine describes a film-to-video transfer and a scan is similar (film-to-digital data files), but it's a pin-registered single-frame-at-a-time process (film in a telecine moves continuously and is not pin-registered.)

So whether or not this Super-35 was telecine transferred to video for editing, the D.I. would have either involved an HD telecine session on a Spirit (to a 4:2:2 format if you are correct about that) or a data scan on a Arriscanner, which would be RGB (the equivalent in HD video would be 4:4:4, which would be more likely for an HD D.I. than 4:2:2, which is more used for HD mastering for home video.)
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#5 Kenny N Suleimanagich

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Posted 09 January 2007 - 01:10 AM

Thank you for correcting me, it was edited in 4:2:2 after telecine. It wasnt a big enough project for 4:4:4, so after editing we went back and printed from that digital medium to film via Arrilaser. Either way, I was overwhelmed with the power of Arri post products.
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