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14 C a m e r a BEEF u uuu u u u Earlier this year, Avid released Avid DS v10.3 and Avid MetaFuze v2.1.0. Installing the ARRIRAW Avid Plug-in adds native ARRIRAW file support to these products. The Plug-in is available in two versions: Basic and Premium. The Basic version is free to use, offering support for full HD 1920x1080 resolution. The Premium version allows output resolutions higher than 1920x1080, with faster and better quality rendering and efficiency gains due to the ARRI Automated Workflow. The Premium version’s multi-threading and auto-selection of image processing parameters make ARRI Automated Workflows simple, fast and error-free. The Premium version will be shown for the first time at the NAB 2010 show. “The compatibility between ARRI & Avid solutions allows our customers to bridge the gap between production and post production. ARRIRAW is natively supported in Avid MetaFuze and Avid DS, creating a seamless integration between offline to finishing that gives our customers a more efficient and cost effective workflow, and at a very high quality,” says Vincent Maza, Avid’s Worldwide Marketing Manager Post Production. An ARRIRAW u The ARRIRAW Avid Plug-in can be downloaded and activated at www.arri.com/arriraw
Workflow Case Study ARRIRAW Workflow B E E F D-21 T-Link Stwo OB-1 FlashMag FlashDock eSATA ARRIRAW Header Editor .ari v1 Files RAID An alternative workflow has just been pioneered on the production of BEEF, a project of the Stuttgart Film School HdM. ARRIRAW data was recorded onto an S.two OB-1 onboard recorder and .ari files were offloaded with the now available S.two FlashDock to a hard disk RAID. The Avid MetaFuze application with the ARRIRAW Avid Premium Plug-in was used to transcode the .ari files to Avid DNxHD MXF files. The ARRIRAW Avid Premium Plug-in’s multi-threading and auto-selection of image processing parameters made this ARRI Automated Workflow simple, fast and error-free. An Avid Log Exchange (ALE) file was used to transport additional metadata into the Avid Media Composer for editing. From the perspective of the editor, the process of working with ARRIRAW originated files was completely transparent. Once the sequence was finalized, an Avid File Exchange (AFE) file was exported from the Avid Media Composer into an Avid DS system. Loading the AFE into an Avid DS allowed for conforming the complete sequence, applying either the ARRIRAW processing info from the .ari v3 file header or from the AFE/ALE. ARRIRAW settings of each individual clip in the sequence could also be changed after- Parameter XML Native .ari v3 Files Conform ALE/AFE Conform ALE/AFE Auto-Select Avid MetaFuze Avid DS EDL Nucoda Film Master Final Master wards. It was also possible to manually choose parameters during loading of ARRIRAW files. Once the work in Avid DS had been completed, the shots were rendered out. Final grading was performed on a Digital Vision Film Master, importing the sequence and re-linking to the ARRIRAW files and the Avid DS pre-computes. ”Many of our customers have specifically asked for ARRI Digital camera support, so ARRIRAW native file integration as part of our recent Nucoda Film Master 2009.1 release was essential to ensure we provide the right workflows for our customers and their clients,” says Martin Bennett, VP Worldwide Marketing at Digital Vision. Adrian Widera “The combination of ARRI’s Digital Camera System and S.two’s OB-1 on-board recorder provide a compact and reliable setup for ARRIRAW acquisition. Together with the S.two FlashDock and the ARRIRAW Avid Plug-ins the best possible flexibility and highest quality demands in postproduction are met.” Marcos Eberle, 1st AC + Editor BEEF DNX MXF’s ALE Avid Media Composer 3.x AFE C a m e r a 15
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Page 3 and 4: Dear Friends and Colleagues Dr. Mar
Page 5 and 6: ARRI/FUJINON Zooms ARRI/ZEISS Prime
Page 7 and 8: How the Work Flows… Future Proof
Page 9 and 10: Powerful options 3D optimized The E
Page 11 and 12: Flow Apple ProRes Direct-to-Post Wo
Page 13: S.two OB-1 * FilmLight Filmlight Ba
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Page 19 and 20: The sensitivity of the ARRI sensor
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Page 25 and 26: 81 Degrees North extreme cold, rain
Page 27 and 28: (f.l.t.r.) Kai Schubert, Hans Fisch
Page 29 and 30: Transforms two streams of 1920x1080
Page 31 and 32: ASWAR EL AMAR (MOON WALL) is among
Page 33 and 34: photo Dean Morin it turned out that
Page 35 and 36: What postproduction route was taken
Page 37 and 38: photo: Ingeborg Klyve John Christia
Page 39 and 40: M A I N F E A T U R E S • Matched
Page 41 and 42: ARRI/ZEISS 12 master Prime A Techno
Page 43 and 44: ©A.M.P.A.S.® photo: Danny Molosho
Page 45 and 46: photo Matt Petit © A.M.P.A.S.® ph
Page 47 and 48: an ARRISCAN rather than run through
Page 49 and 50: Current Productions Numerous restor
Page 51 and 52: Focus on Company 3 File-based Workf
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Page 55 and 56: photos: Jake Gigliotti Mark Read al
Page 57 and 58: Successful TV show relies on ARRI T
Page 59 and 60: ARRImAX in China Illuminating the g
Page 61 and 62: Based on the design principles of t
Page 63 and 64: Under the guidance of DoP Gernot Ro
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