Roger Deakins - Alexa

I get very confused and, frankly, irritated by all the pronouncements about ‘K’, bit depth, latitude etc.. In the past it was often stated to me by visual effects supervisors that there was no noticeable difference between a 2K scan and a 4K scan of the same negative. Does film really have a dynamic range of more than 13 stops? What film stock would that be and under what conditions? I don’t see it.

In the final analysis you can only judge picture quality by eye and make a personal decision as to what you like and what you don’t like. Perhaps some people really can not see a difference between a 2K scan and a 4K scan of the same negative and I am sure some people really do prefer the look of an image produced by the Red Camera to one shot on film. The choice of a camera system is no different than the choice of a lens set, a camera position or where to put a lamp.
on Sun Jul 04, 2010 4:30 am

Roger Deakins shooting Alexa Uncompressed DPXs

The quote below from Roger Deakins own site implies that he is not shooting RAW (this being Arriraw) but shooting Log-C DPXs

direct to disk as uncompressed images. This can be done with digital film recorders from Stwo or Codex and has been our way

of shooting now for over 5 years.

Regards

Pure Digital

Roger » Mon Nov 08, 2010 7:01 pm

I have a fully calibrated Colorstream system which does show me the raw data I am capturing as well as the image

I will get with a chosen LUT applied. I can also override this LUT and create my own timing per scene and this will

accompany the recorded file to the timing facility, which is E Films in this case. The monitor I am viewing is exactly

the same as the one on which I watch dailies.

I am not shooting raw as this is not available at present but I am shooting uncompressedand this is probably just

about as good as the raw will be. I do still use a light meter.

F35 Cine-EI exposure charts

Thanks to Rogue Element Films.

Click below to see new Cine-EI exposure charts from the F35s new software upgrade.

http://rogueelementdigital.blogspot.com/

Arriraw testing in Australasia

Pure Digital Services spent the new year developing and testing a full turnkey solution for the capture and delivery of Arriraw from the Alexa. Testing included filming test charts, outdoors filter testing and full technical implementation.

T-Link raw capture from the Alexa and delivery to post was essential, images here of the exterior testing.

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F35 12bit and Cine-EI software upgrade

http://rogueelementdigital.blogspot.com/

Information on the new F35 upgrades and new movies shot 12bit to DFR recorders.

Pure Digital - Full data services for the movie industry

Turnkey Arriraw solutions

After extensive testing and delivery Pure Digital is now in a position to offer full turnkey solutions for all Arriraw projects shooting with both Alexa and D21 camera systems.

Each camera offers unique solutions for shooting, and Pure can now deliver for both cameras.

Pure Digital

Jan 2011

Arriraw complete solutions

Pure Digital Services has helped complete full workflow and delivery solutions for Arriraw shooting from the Arri Alexa.

Full resolution images, debayered and delivered, for Productions shooting now in India and Australasia.

Pure Digital

Jan 2011