F65 and Arriraw (4:3 and 16:9)

2012 will take another step towards digital standards and deliverables that conform to a considered industry specification, another year but another avalanche of new software and media to self tutor on.

The F65 arrives, and having now completed full evaluation and testing along with full location deliverables, studio uploads, VFX delivery, H.264s, Avid MXF and AVBs plus all the regular dailies media now related to Theatrical releases I can say that the F65 looks fantastic and is a very approachable format for those said deliverables.

Arriraw now exists in both 16:9 (Alexa Plus and M) and 4:3 (Alexa Studio). Arriraw at 4:3 sensor size records more media information and is another 20% increase in your data footprint. Same results, the major pluses are the optical VF (stunning) and the ability to use 2:1 Anamorphic lenses.

Regards

Daniel Mulligan

www.puredigitalservices.com

2012 Databank

Welcome to 2012 and another year of Digital Cinematography. I have plenty of examples of new shoots to describe plus new workflow options for all shoots.

So new updates coming very soon including new Features shot with Arriraw and also Red Epic shoots plus new options for the Sony F65 and its new 16bit RAW 4K recording.

Regards

Daniel Mulligan

Madam Butterfly 3D - Testing

Pure Digital supplies full data back-up services and OB-1 data recorders for another 3D shoot. This time we tested the F3s with 2 x Optimo Zooms recording 2 x 422 stereo feeds into 1 OB1 recorder. The shooting begins next week. 

 

 

Cinegear LA 2011!

Cinegear LA 2011

Demonstrated on the Stwo booth a full 3K solution for ARRIRAW. We can now mount the FlashMags directly into the Mistika via 400MB/S fibre allowing for instant scrub/playback of the rushes directly and full verification. This approach also allows us to start the 3K processing via our bespoke RAID arrays that give us the speeds to playback real 3K images (not 3K downconverted to HD) in real time from the processed 3K DPXs.

Its very cool, and a hell of a lot of work has gone into this by Pure Digital, S.two, Mistika, Light Illusion and Dulce. It works and works very very well :-) 

Further details of our work and shoots running globally on the website/blog.

Testing in Santiago, Chile

 

Day One, Santiago, Chile.

Testing the ARRIRAW equipment for indoor and outdoors. OB1 working well with live debayer, LUTs and full timecode sync to the Alexa with new Alexa recording trigger for the OB1 allowing for timecode accurate ARRIRAW with ProRes Proxies/offline and allows simultaneous recording of both the OB1/ARRIRAW and ProRes at exactly the same time, which is really cool.

Everyone is excited by this and its the first ever ARRIRAW shooting for Chile. More to come. 

Day Two Santiago, Chile.

We shot on location at an underground car park in central Santiago. Lots of ARRIRAW and motion control shooting with full technical debayer for select shots with all rushes being archived to Lacie drives via eSata. We can record fully matched Master (ARRIRAW) and Proxy/Offline (ProRes via onboard SxS card recording) together with matched timecode and trigger all the recordings from the Alexa.

Editorial on set to see the workflow discussing the proxy/offline (probably ProRes 4444) and our requirements for conform. Full 3D print emulation LUTs are being used created by Light Illusion and all is going very well so far.

Day Three Santiago, Chile.

Shooting today in an underground car park at Hoyts Cinema Complex. Lots of motion control for the effects and layers. VFX department on set very happy with ARRIRAW and uncompressed. The Production has now seen the quality of the RAW image and our workflows for delivering it on set and are looking to shoot in July for 6-8 weeks. This is a tremendous first for the Chile market and everyone involved is extremely excited to be shooting RAW for the first time.

Day Four Santiago, Chile.

Shooting motion control all day for shots of multiple passes with action. OB-1 performed flawlessly replicating helicopter landings as seen here and the motion control in the studio. We processed the .ari ARRIRAW files to 3K DPXs for the Production which were delivered yesterday and will be delivered to print for evaluation this month.