75 film and digital times storaro passage to digital

7/26/2019 75 Film and Digital Times Storaro Passage To Digital

1/14Issue 58-59 Dec 2014

Issue 75www.fdtimes.com

Art, Technique and Technology in Motion Picture Production Worldwide

Apr 2016Jon Fauer, ASC

Passage from Film to DigitalPreview:

Vittorio Storaro and Woody Allen on Cafe Society


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Passage from Film to Digital: Vittorio Storaro, ASC, AIC

JON FAUER: Vittorio, how did your recent passage from filmto digital with Woody Allen begin?

VIORIO SORARO: I first met Woody Allen when we werefilming New York Stories. I did the section directed by FrancisCoppola. Woody Allen and Martin Scorsese were directing theother two parts, with cinematographers Nestor Almendros andSven Nykvist. A ew years later, in 2000, Alonso Arau asked meto be cinematographer on Picking up the Pieces. Woody Allen

was the lead actor.In 2015, I received a call rom my agent Paul Hook (ICM) in LosAngeles. He said, Woody Allen is preparing a new film. DariusKhondji, the cinematographer or his last our movies, isnt avail-able. Woody asked i you would be willing to do the movie.

I sent an email to Darius, to be sure that he knew directly rom mewhat was going on. I asked Paul i it was possible or me to see thetreatment or script. I find it difficult to discuss a project withoutknowing something about it. I need to be able to add somethingrom the visual point o view in order to justiy my involvementin the movie. Paul said, You know, Vittorio, its very difficult orWoody to send the script. He keeps it quite secret. And I said,

Im sorry, and I respect Woody very much, but I need to knowwhat the script is about. When were going to meet I would like topresent to him some ideas about the visualization o the story. Sothey sent me the script and I loved it rom the beginning.

It was really a Woody Allen story. Not only that but there weretwo major locations in need o distinctive visual styles: the Bronxand Hollywood. Tere were two specific visual themes to be pre-sented. So I was very interested.

I have done 58 films on film. Te last one was Muhammad, andduring the 3 years I spent doing its pre-production, production,and post-production, I saw how the film industry was changingcompletely. It was an almost 100 percent switch rom film to digital.

I flew to New York to meet with Woody. We spent more then 2hours speaking about the project. Ten I said, Woody, you havealways used film. I also have been using film up to now. But Ithink that the time has come or us to change and make the pas-sage rom film to digitalbecause progress is something that wecannot stop. We can speed progress up or we can slow it down, butwe cannot stop it. We are running behind something film andthe photochemical processthat we know is going to disappear.

SONY F65 and Vittorio Storaro, ASC, AIC. Photo by Simone DArcangelo

Visual style of the Bronx: The Dorfman family at dinner Visual style of LA: Hollywood party

Cae Society opens at theCannes Film Festival on May 11.It was the first digital motion pic-ture or Director Woody Allen andCinematographer Vittorio Storaro,ASC, AIC. Woody Allen hasdirected 47 films on film. Storarohas shot 58 films on film.

I met with Vittorio several timesin New York while he was grad-ing Cae Society at TechnicolorPostworks.

Vittorio is amous or his cin-ematic discussions o art, style andsymbology. But we also know thathe is on top o the process at everylevelartistic, digital, and techni-calwith more knowledge o bitdepth, resolution, dynamic range,DaVinci the sofware and the

artist, to keep FDTimes readers onthe edge o their seats.


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Or we can jump into this new digital world together, and makeit our world. We can improve it only i we are inside the process.We cannot criticize it rom aar. I think its time or us to embracedigital capture. So we started speaking about the kind o digi-tal motion picture camera that was possible to use. I have alwaysbeen dreaming o working with a camera that gives me, rom thebeginning, the specific 2:1 aspect ratio that was suggested to meby Leonardo Da Vincis painting Te Last Supper. In cinema, I

call this aspect ratio Univisium.

Leonardo da Vinci The Last Supper 1495-98

Whenever I had been experimenting with digital over the years,constantly being disappointed, I was always thinking about mydream camera. Tere were several additional elements to satisy.I film is able to capture at least 16-bit color, then the digital cam-era must record the same, i not more. And i we scan film at 4K,6K or 8K, then the digital camera must have at least 4K resolution.

Ten, one day I discovered that Sony made the camera called F65.Tis was the closest possible to my dream. Te gate was almostperect: the aspect ratio was almost 2:1. And it was rom to 8K to4K, 16-bit, with very little compression. Tis was the camera thatI would like to use.

Speaking with Sony, they sent me to Panalight Camera Rentalsin Rome. My assistant and I were able to test it. So when Woodyasked which camera Id like to use, I said, Woody, I would liketo work with the Sony F65 camera. Are you ready to jump intodigital with me?

Woody said, Lets do it.

You didnt have to twist his arm too hard?

No. He understood the technology, but Im sure i I had suggestedwe stay with film he would have been very happy as well. But Iwas ready. I thought that it was the time to go to digital with theSony F65 camera. I think we both realized that sooner or later itwould happen. Once he saw me so determined to make this pas-

sage, he agreed we should do it together. Ten I said, Woody, Iwould like to have on set one Sony calibrated monitor or youand one or me, so you can see the image while we are filming.We will have almost the same quality as the final image on the bigscreen. No longer will the image be a flickering video assist, roma film camera, that is barely an image in color and that is not even

vaguely close to the final result. Instead, we will see exactly whatwere doing. You will see rom the beginning to the end what weare going to achieve in the final result.

What lenses did you use?

I used the lenses that I always have loved, the Cookes. We

organized the cameras and lenses and tested at Panavision NewYork. We used Cooke S4 lenses because they are built or cinema.I need the best lenses to record the plastic movement o light onevery kind o image, rom maximum brightness to maximumdarkness, particularly into the penumbra, as Leonardo da Vincicalled it. I really wanted the style o the film to underline thedifferent sections o the story, each one in a very specific way, and

to maintain an overall cinematography style: mine.

I remember the day we did the first make-up and wardrobe testswith the actors. I prepared two very simple lighting setups in thestudio and I explained to Woody that he would be able to see theactual color, look and eel o the scene on his monitor. But every-body, particularly the line producer, told me, Vittorio, dont besurprised and dont be offended because Woody never looks atthe monitor. In act, are you sure you need these two big, moni-tors on set?

I answered, For me, its indispensable. I watch the image careul-ly as I operate my light board. And I control the lens aperture witha wireless control. So I have to have a perectly calibrated monitor.It is up to Woody i he wants to watch his monitor. But afer Ifinished the lighting, I did indeed notice that Woody was not evenlooking at his monitor. He was watching the actors. Ten I saw,on the monitor, something about one costumes color that I wasnot happy with in relation to the color o the background. I askedWoody i I could show it to him on his monitor. We played backthe scene and he understood what I meant and I said, Woody,you realize the quality o this image is exactly what you will seelater in the finished film? We are practically looking at dailieswhile we are recording the images.

From the day on, whenever Woody came on set, he would ask,Where is my monitor? He never stopped looking at his monitor

because he really was able to see exactly how the movie wouldlooka look that we were able to achieve about 80 to 90 percento the time on set, even beore final grading.

Did that change Woody Allens way of directing?

No. He always spoke with the actors at the beginning and endo every scene. Te sets were mostly intimate. He doesnt like todo many takes. When I asked Woody whether he liked the videomonitor, he said Vittorio, now I know exactly what youre do-ing and what are we doing. For me it is the same, I didnt changeanything in my directing o the actors. So I elt very comortable.

And how about for you? Did it change the way you did things,

Passage from Film to Digital, contd

Ethan Borsuk, First AC and Simone DArcangelo, DIT in a camera test.

Photos and montages by Vittorio Storaro unless otherwise credited.


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almost watching dailies as they happened as opposed to the

mystery of seeing it the next day?

It changed the way I worked because I wanted to see exactly howeverything was going to look. I already understood this in 1983when I did Arlecchino in Venice, directed by Giuliano Montal-do, with the first Sony HD Video system.

HD Video Arlecchino in Venice (1983)

Tat experience oreshadowed the end o my little nightmare oagonizing how the image would look on screen. With film dailies,we waited until the day afer, sometimes the week afer, depend-ing on where the laboratory was. With digital, you see right awaywhat you are going to achieve at the same time that you are think-ing about it. Tis is incredible. Youre watching an image and yousee exactly what you are thinking at that moment. Youre able tomake immediate changes. It takes on a new lie. Perhaps we loseour innocence. Moving rom film to digital, we gain conscious-ness. We are aware o the kinds o images that we have in ront o

us. It is true that the cinematographer was once considered theonly one who had the advance knowledge o how the scene wouldultimately look. Lets be honest: the cinematographer was the onlyone who was able to predict how the image would appear when itwould come back rom the laboratory the next day.

Tere were so many things that could change, and no matter howvast your experience, knowledge and technical preparation, therewas always the challenge o something going differently rom theexpectation, in the developing o the film or the printing or thecolor timing in the lab. As much as you could be knowledgeableor experienced, there was always doubt, ollowed by the greatemotion o relie upon seeing the first image on screen.

Anxiety and little nightmares?

Anxiety can now disappear with digital. But this doesnt meanthat the journey o cinematography is ending on the set. Heres anexample o a little nightmare and how digital would have helped.

On Apocalypse Now, I ound mysel on the river, at night, belowthe Do Long Bridge. Suddenly I realized that I didnt have enoughlights or generators. We had only our arc lights and only one gen-erator. It was incredible: at that time film was 100 ASA. Ten withDean avolaris, the production designer, we had the idea to stringlight bulbs along the bridge. I asked A. D. Flowers and Joe Lom-bardi, the special effects guys, i we could have some explosionson the other side o the bridge to reveal it in silhouette. I asked myelectricians to keep panning the arc lights back and orth.

So there were explosions, the light was moving, the camera wasmoving, nothing was still. But, the real question was how thefilm would look afer it came back rom the lab. Te images romechnicolor Romes lab were 2 weeks away rom our location. Wedidnt even have a video tap. Tere certainly were some questionsin my mind about this scene, although not about the original con-

cept. Probably i I were shooting digital, I wouldnt have had anydoubts.

Apocalypse Now (1979) Charlies Village

No dreaded phone calls at 3:00 in the morning?

Tere was not even a phone in the little village near Pagsanjan. Itwas Ernesto Novelli, the echnicolors colorist, who would send metelegrams rom Rome, telling me how were the negative condition.We were doing something extreme at that time, We were flashingthe negative to reduce the contrast o the new Kodak negative.

Te horror. With digital, do you find yourself even more daring,

Steve Carell as Hollywood agent


Kristen Stewart and Jesse Eisenberg at the Vista Theatre, Los Angeles


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trying things you probably wouldnt have done with film?

I usually tried or extremes all the time, ever I since I was young.I was probably a bit presumptuous. But all the time I pushed orthe extreme. I never stopped because I was not sure. I tried todiscover the unknown...or me...no matter what, film or digital.

Apocalypse Now The horror

I dont want to compare, but why did you pick the F65 when

more than 90% of major films are shot with other cameras?

I wanted to get out o the swamp o lower resolution. I think it isabsurd to be working at lower resolutions than what we have withfilm. I was introduced by Rob Hummel to the Dalsa digital cam-era, which was what I had in mind: 4K, 16-bit, uncompressed,and exactly a 2:1 aspect ratio. But it was just a prototype.

Sony 65 is the first digital camera that meet my expectations, butSony needs to believe more in the quality that they have availableand should be ready to listen to what cinematographers have tosay during the use o their digital cameras. No camera is perect.

Te F65 camera is, in my opinion, the best digital camera that Ihave used until now, but it shouldnt necessarily stay the way it is.Tere are several things that can be adjusted, modified, improved.I have sent a letter to Sony about this.

I hope every company will take the same steps to achieve higherquality. Particularly in two or three major areas. We come romfilm. It has been a journey o one century. One hundred years ohistory. For my last movie on photochemical, I used our differ-ent Kodak film stocks: two or daylight, two or tungsten light.Tat allowed me to have 50 ASA, a lower sensitivity, or shootingdaytime desert exteriors, where the range o inormation was thewidest possible. I I went into interiors using daylight, I was able

to have a 250 ASA film stock to help me in lighting those scenes.I Im using artificial light in the studio, I can have the incrediblerange and tonality with 200 ASA tungsten. And i Im filming atnight, I have the 500 ASA film stock.

How is it possible today that all o the best digital cameras in themarket only have one sensitivity, which is usually 800 or 1,250?Tey are very sensitive but orce us to use ND filters in ront orbehind the lens when the light level increases. Without any doubt,these filters can change the dynamic range, the color and contrast.We dont even have the chance to increase or lower the sensitivityo the camera electronically without changing the level o noise orcontrast. We had this ability when we used film.

So in my opinion, SONY, ARRI, RED or any other camera manu-acturer should give us a camera with at least three sensors thatthe camera assistant can change, like changing film magazines.We should have sensors with very low, medium, high sensitivities.

Im a member o the Italian Film Academy, European Film Acad-emy and American Film Academy. I receive many screeners. Mosto the time I am just watching ridiculous images. Tey dont haveanything to do with the story, the period, or the magical world o

visual art. With cameras being so sensitive today, you can recordin almost any location, with any kind o light. But artul cinema isnot about recording the image as reality. Cinema is interpretation.Te great sensitivity o digital cameras can be helpul in specificcases, but it can destroy the majority o films. oday, many cin-ematographers just arrive on set, turn on a table light, or a lightcoming through the window, and thats all theyre doing. So everymovie looks alike. And usually the look is very mediocre.

Many of our colleagues complain, just as you said, that so many

movies look the same. Tey blame it on the digital camera or

the lens. But I can guess that you will say its not the camera, itis still all about the lighting.

Right. As always. Light is the most important visual element, par-ticularly when it is in relation to shadows.

On the Woody Allen film, tell us more about working with

your DI and data.

I brought Simone DArcangelo, our Digital Imaging echnician,rom Italy because I think the DI is a very important figure whois not ully appreciated by everyone but who can help us expressourselves in a better way. Simone is also here with me while I dothe digital intermediate. He was my student in LAquila. He wasmy camera assistant or several years on the films I, Don Giovan-ni, Caravaggio, Muhammad, and many others.

I, Don Giovanni (2009)

Carvaggio 2006 and Dinner at Emmaus



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And now Simone is a DI, a very important figure in the new digi-tal world. But, at the same time, we have to be very wary o theiradvice. I you remember when echnicolor gained the market incolor film, they sent out their special echnicolor supervisor,especially Natalie Kalmus, credited on most echnicolor eaturesrom 1934 to 1949. What happened was not always beneficial.Tey were supposed to be experts in the area o color, but some-times they were too controlling, mostly araid o shadows, espe-cially i the cinematographer wanted to try something different.Remember the stories about Oswald Morris on Moby Dick andMoulin Rouge where they were trying to fire him because he wasdoing different things compared to what they expected. Practicallythe entire industry until the early 70s, in my opinion, had thiskind o mentality. Color is very good or western, or comedies,or musicals. But not or drama. Because color doesnt read wellin shadows, they said. But that was not necessarily true. Look atErnest Hallers work on Gone With the Wind in 1939 or G.R.

Aldos cinematography or Luchino Viscontis Senso in 1954.oday, the DI can be a similar figure. Tey can give you sugges-tions, considerations, advice. Or they can try to keep everythingin a specific, sae range.

Ten how do you protect yourself?

In the beginning I was listening to Simone when he pointed out alight that was too bright, an area that was too dark...where I waslosing inormation, etc... Ten, at one point, I said, Wait, Simone.It is very important what you are telling me and it is importantthat I listen to you. But it is also essential that once I know therange and the possibility o the system, I can go beyond the limits,because otherwise I will be stuck, without any sentiments. I will

be flat. I have to use my sensibility, my creativity, to ollow thestory. Te story is like music. It goes up and down in movements,in motion. I need to ollow the emotion o the story.

It is very important to be working on the set with an intelligentDI and you must be strong enough to know when to say No. Ithink it was very important or Simone to be at the D.I. Session.o see all the finishing touches about light tonalities, colors andimage composition, it completed his experience on this film.

Te most important thing is to listen, to hear, to take care, to beaware o knowing the systembut dont get stuck in the mudwith the system. And dont be stuck in just gathering inorma-tion through this instrument. Tere is a moment when, as thecinematographer, you have to ollow the emotion o the story andgo beyond the system... with knowledge.

Is that the reason a number of our colleagues are saying that

they still prefer film?

Not necessarily. For example, at a panel discussion I was on atCamerimage, I mentioned that film, in my opinion, was some-thing that we were losing. Ed Lachman said he still preers filmbecause o the grain, color, inormation, and look. I said, Eddie,you are very romantic. You were raised like me, on film. We bothcome rom the same era. But do not orget the history o the im-age. Human beings started out a long time ago trying to expressthemselves with images drawn inside caves. Later, they used littlestones to make mosaics. Ten they painted on wood, did rescoeson walls, and on canvas. When photography arrived they startedto work in black and white emulsions. Ten they went to the cine-ma, the image moved, sound arrived, we had color, and stereo 3D.And now we have digital, it is part o the evolution o cameras andmedia. At first, the transition to a new medium can be difficultand different rom the one we use to. We should work with ourcreativity to make the best images possible with any material. Te

industry has changed so much. In Italy, echnicolor shut downtheir laboratory. Kodak shut down their offices, we dont have filmany more and there is no one lef to develop it.

Its no longer an artistic decision, it is logistical. But some are

still hanging on to film: arantino, J.J. Abrams, Ed Lachman.

Yes, but they are very romantic people. Yes, somebody does it,probably they think it is more artistic. I did my first movie inblack and white: Giovinezza, giovinezza (Youthul, youthul,directed by Franco Rossi, 1968).

Giovinezza, giovinezza (1968)


Gone with the Wind (1939) above. Senso (1954) below.


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I you propose to me today to do a black and white movie I willsay, No, thank you. I will miss color. But o course anybody cando anything they love to do.

Its a difficult transition, but its progress. Even Charlie Chaplincontinued to make silent movies afer sound was invented. Whenthey invented talkies, the camera couldnt move as easily becauseit was noisy and they had to put it into a large soundproo box thesize o a telephone cabinet. One o the greatest poets o the cen-

tury, the ather o Bernardo Bertolucci, Attilio Bertolucci, said,When cinema learned to speak, it lost the poetry. It is mainlyan expression o Images. In the beginning any new technologyis usually never better then the previous one. Progress can bepushed or slowed down, but it can never be stopped.

When you initially read the Woody Allen script, was there was

enough poetry to keep you interested?

Absolutely. First o all, the script is very well-written. Second, itis very personal, a story o a Jewish amily. You can eel its re-ally a Woody Allens movie. Tird, it is a period film, 1935-1940.Four, there are geographic elements, Bronx and Hollywood, thatrequire different looks. So there were enough elements or me to

perorm and be very interesting.

At Camerimage, you probably had discussions with colleagues

who were saying that the cameras are too sharp, too crisp.

Oh, yes, thats what they said. I replied that when you change themedia, you have to know or to learn the new technology. It is notnecessarily exactly what you were expecting or what youre usedto. You have to respect it and try to understand that it is different.Maybe it is better or worse. But probably it is betteronly differ-ent. So you have to know how to use it.

I heard comments like, oo sharp, the depth o field is too large,we miss the oggy and grainy images... And I said, In that case,

you can use your og filters or add a net, etc... etc... But dont ex-pect to stop the entire system. We have tools to create the stylesthat we need according to the specific story. I think that the mainelement is the language o light, using the proper relationshipsbetween light and shadow to express yoursel perectly with anykind o material in cinematography.

Look at the different styles that Woody Allen had with SvenNykvist, Gordon Willis, Carlo Di Palma, Darius Khondji and my-sel. With a similar set, similar story, same Director, each one o usadds his own sensitivity and approaches the film style in differentway. It is like the same director working with different actors. Inmy opinion, we should ollow our creativity in search o a specific

style or every single story through our personal point o view.On the Woody Allen project, did you and your DI grade on

set to give it the look that you wanted?

No. Tis was in my imagination in 1983, during the first SonyHD Video test, when I was thinking, during the production, ohaving Ernesto Novelli on the set, instead o being at echnicolor.oday I realize that on the set I need to concentrate on having asmany ideas as I can. Te finishing touch can be done later in thelaboratory. Te only thing that we did on Cae Society was toestablish, rom the beginning, our different kinds o looks, butkeeping an overall style. Like a symphony with our movements:

A) Te Lunar Bronx, with the lie o a poor Jewish amily.

B) Sunny Hollywood, when the lead character moves to LA.C) When the lead character comes back to New York and hebecomes the director o a nightclub, we see the New York orich people, going to dinner in tuxedoes.D) Te last part o the story, in L.A. and in N.Y. where thenatural and artificial lights are influencing each other.

Lets talk about composition and the style of the movie.

Woody and I discussed ways to move the camera. He did not eel

that the modern look o a Steadicam was appropriate to a movieset in 1935/40. We decided on a classic approach. Te cinematog-raphy style was set between two complementary looks, one orNew York and one or Los Angeles. I proposed examples o thegreat photographers such as Steichen and Stieglitz and Painterssuch as Georgia OKeee, Otto Dix, amara de Lempicka and Ed-ward Hopper.

Otto Dix Mitteltafel des Triptyschons - Metropolis 1928

But on top o the two different main locations, the entire story isnarrated by a voice over, the voice o Woody Allen. So I elt thatWoodys narration o the story belonged to a different period otime and place, required a special, different camera style. Te nar-rator is practically the principal character o the story.

It needed the use o its own descriptions and emotions. I proposedusing a Steadicam or the scenes described by the Narrator. Woodyound it interesting. I said, Usually I dont like to use a Steadicamonly when somebody is running or is going up the stairs. Whenthe narrator is describing something about the different charac-ters or situations, we need to have a different camera movement,with an emotional eeling, more harmonic. Just as I had used a

Steadicam on La raviata in Paris with Garrett Brown and Val-entin Monge, Steadicam operators who succeeded in moving thecamera in a rhythm that was dictated by the music, in our moviethe Narrators words should have, in Ca Society, the same emo-tional level o the Giuseppe Verdis music in La raviata.

Would you call it point of view?

No. Its covering the scene by ollowing the description o the Narra-tor. Woody liked the idea and Will Arnot was our wonderul Cameraand Steadicam operator. He has the great versatility to be able to doboth. What touched me about his personality is the dedication to bespecific in his choices and the will to try to reach perection in everyshot. I used to tell him You are writing with the camera.



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How did you approach the Woody Allen project technically?

Te Woody Allen movie originates on a digital capture camera.My ambition was that the image would not just look like video.My basic rating o the F65 was 640 ISO outside and 500 interior.More or less I went to the similar ratings I would use with a highsensitive film negative.

I did all my best to use the language o Light the way I wouldnormally do it on Film, without being intimidated by the limits o

Digital. Each scene has its own specific lighting style, accordingto the main style o the entire story. Even though the camera hada very sensitive sensor that allowed me to see the image in anygiven location, I would use not only location light but also illumi-nate the scene to write with light in my own style, using imagesthat represent what is written with words.

I liked the act that Cinelease in NY and in LA has the same light-ing package rom Iride Rome that I normally use in Europe. I eltcomortable to continue to use their Cinematography Lightboardand all the lights on a dimmer system. I tried to establish the looko the Bronx in 1935 to show a little amily inside a small apart-ment. Te color was very desaturated. Ten we jumped to Hol-

lywood, the land o sun, o warmth.

When you see the film, I would like to ask you to orget that it isshot in digital. Just watch the movie. You dont have to know andhopeully you will not care in which system it is recorded.

above: Tamara de Lempicka Portrait of the Marquis dAfflito (1925

below: Edward Hopper Summertime (1943))


Where are you grading?

echnicolor Postworks NY, with a wonderul colorist, AnthonyRaffaele. He was with us rom New York to Los Angeles, rom thebeginning to the end. Tats something I really love, as Im used todo in Italy, to have the same colorist doing dailies and doing theDI as well, ollowing the movie in its entire journey.

Are you using the looks set in pre-production for the DI?

Yes. Te basic structure exactly ollows my original idea. I haveto say that I did as much as possible on set. Now Im just refiningand pushing a little bit urther. I dont subscribe to the idea thatyou can do whatever you want on set and fix it in post later. I liketo set my style rom the beginning and stay with that particularlook. O course, I can adapt during prep, while filming, and thenraise the bar during post-production.

How much time are you spending on the DI?

We did one reel a day. Afer the 6th day, when we finished the firstpass, I asked Woody to come see the entire Film, to have his im-pressions to add to my second pass in order to refine everything.My surprise was that he asked, as he usually did on every other

movie, to see the corrected copy without sound. I mentioned tohim that I did the entire DI with the sound, even i temporary,because there are in the dialogue, in the Music and particularly inthe Narrator, a lot o visual reerences and eelings o the mood othe film, very important or the finalization o image and sound.

He elt that I was disappointed and said, All right i you need toshow me the Film with Sound, we can see it with sound.

But I understood the reason or his request and I said: No, youshould be comortable doing it the way your are used to. Do notworry about me, I know what I did.

We didnt speak a word during the entire movie and when thelights o the theater that came up, he said: I like several parts othe Film, but some sequences seemed to me were better in dailies.

It happened to me several other times that a Director came to seea timed film, and had a special memory o some sequences thatare difficult or them to see again with the same emotions. imeplays an interesting thing into memory. Knowing that, very ofenduring the grading, Anthony and I had went back to see the sameimage rom dailies, in order to have a confirmation that we dida step orward or not. I mentioned to Woody that it was not aproblem to show him any sequences that he preerred in dailies.

Afer he saw some o those images, one afer the other, he said,Now that I saw the difference between dailies and the DI, ev-

erything is all right or me; please complete your work, Vittorio.

Vonnie and Bobby


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Afer that, we spent another day or two refining things. All inall, its about the same amount o time as i we were grading anynegative film.

Ten theres no turning back from this passage from film todigital? Its a one-way ticket?

Correct. Its progress and we cannot stop progress. However, Iwould love to have back the original echnicolor Dye transer.I saw a major difference when I did Apocalypse Now Redux inre-printing the old material. Te colors were aded and the blackwas grey. I did a test to find out i we could print the entire movieusing the echnicolor matrices. It was unbelievable compared tothe normal printing stock. But I dont know how we can reachthose levels ever again.

My worry is how long the digital image can stay alive. No digitalsystem is secure or the uture. Rob Hummel, once again, is be-hind a system in Los Angeles called DOS. (Digital Optical apeSystem). It is able to capture an image at a very high level that willlast almost orever. Tey tested it under laboratory conditions inRochester, tested equivalent to 500 years. Tats what we are miss-ing now. We need the digital world to become Digital Optical.

Tats the direction I would like to go. But I do not have to go backto film origination, which is already in the past, lets say.

You used both the F65 and the F55 on the Woody Allen movie?

Tey share the same codec, but the sensors are different. F65 is8K and F55 is 4K. Did they match?

When we decided to use a Steadicam or the narrator segments othe Woody Allen film, I realized that the F65 is a little too heavy.I spoke with Fabien Pisano at Sony in France about that. He said,Vittorio, i you are careul about the lighting, you can mix them.Certainly the F55 is less heavy. Its much better or the Steadicamoperator. And we used the F65 or everything else. During dailiesI didnt notice any difference. But now that I am at echnicolorPost Works, grading live on the big screen in 4K, 16-bit, I can seethe difference. Sometimes the difference is not very evident. Itdepends on the scene. I notice the F55 has a bit more contrast andit doesnt have the entire range o color that you have with the 65.

In the uture, I would preer to only use the F65 and not mix theF55. I would do my best with the assistant to make the F65 cam-era as light as possible. I have been pushing Sony to give me threethings. First I need more choices o sensors in one camera. I cantlive with only one sensor. Tats ridiculous. Second, give me 4K,16-bit, uncompressed. Tere is a little bit o compression in theF65. Tird, give me a perect 2:1 gate. Gates o the F65 and F55 arenot the same: the aspect ratios are a little different.

Has the role of the cinematographer changed in this digital era?

We already spoke about the act that there was a period whenthe Cinematographer was the only one who knew how the imagewould look beore the laboratory delivered the dailies. Somehow,the Cinematographer was almost like a magician, pulling, romsomething mechanical, an image out o the screen. In the ana-log era, to be a Cinematographer meant either having many yearso training or learning rom a master. My generation came rom

schools, learning photography and cinematography. At that time,because o my many years o study and years o working in a labo-ratory, I was one o the Cinematographers most knowledgeableabout technology. But that was not enough or me.

I realized that I was lacking in one area completely. I elt the needto express mysel in a different way, but I didnt know how andwhy. I knew the technology and how to use it, but I still neededsomebody to tell me what to do. When I discovered that, I triedto fill the gap by studying, researching, listening to music, readingpoetry, reading prose, looking at paintings. I wanted to under-stand why great artists chose one color over another. Why werethey using a specific composition, why did Caravaggio choose to

penetrate darkness with a strong beam o light, why was a sculp-ture by Bernini different rom Canova or Michelangelo?

oday the image is no longer a mystery. We have in ront o us abeautiul monitor in high definition and the color represents theimage almost exactly as will be on big screen. Since everybodycan see the image, there is no more mystery. Many people nowthink o the camera as an automatic tool to record an event. Whatthen is the strength o cinematography now?

Cinematography means Writing with light in movement; it isto know the meaning o what youre doing. o know the gram-mar o vision. o know how one color connects to another colorand the kind o emotional reaction you can have in relation to

them. o understand the psychological way you can separate orunite light and darkness. Tat kind o knowledge will give us thestrength to present an image to a Director, Production Designeror Costume Designer and to define how the camera should move,how the scene is composed, how much brightness is required,what the color tonality should be.

In Vittorios passage from film to digital, it seems that the toolshave the potential to be even more interesting, powerful, and

artistic than ever before?

I already crossed the bridge...between...film and digital. Not onlyare the tools interesting and powerulbut they are also here,right now. Te digital world helps me to express mysel.

Veronica and Bobby listening to Jazz Bobby and Vonnie in Central Park



10/1412 Apr 2016 Issue 75

Woody Allen, Writer-DirectorPassage from Film to Digital, contd

Woody Allen and Vittorio Storaro working in New York, August 2015

Photo: Sabrina Lantos Gravier Productions, Inc

Woody Allen sent his comments on the Passage rom Film to Digitalby email.

JON FAUER: Vittorio calls it a Passage to Digital. As Director,

how was the journey? How do you find digital compared tofilm?

WOODY ALLEN: o me its the same thing with a number osmall advantages, but it didnt make that much difference to me,and any difference was on the plus side.

Did instant dailies seeing a very good image on set affect the way you worked? If so, how?

No it didnt change the way I worked, but it was a great convenience.Are you pleased with the results? Will you go back to film or

stay in digital?

I am happy to stay in digital because the end result is fine. I maymay as well enjoy the convenience that digital brings. Also itclearly is the way the industry and the uture is going. Im not oneo those people who is anatic about celluloid.

Comments about the Journey with Vittorio?

It is always a pleasure to work with a great artist and it was aprivilege to work with him.

Vittorio Storaro, ASC, AIC crossing the bridge to Digital

In the analog days, when I was speaking with Bertolucci or Cop-pola, Beatty and Saura, I would describe my theories and opin-

ions only verbally. It was up to me to convince the Director aboutsomething visual by using words. Now, in this digital era, weCinematographers have a much greater opportunity to expressourselves. Having a high resolution, color image on the monitorallows us to show, not only tell, the Director and everybody elsewhy the image is right or wrong.

oday, the director can say, Oh, Vittorio the light is too bright.Tis light is not good. Or whatever... Sometimes, perhaps hesright and I can address it right away. But, especially now, I havean additional chance in looking at an image, with knowledge ophilosophy, art, music and poetry, to try to explain why the lightthat I placed in a certain direction or at a certain level is correct

or that specific scene.Tereore, we can use the images to express ourselves better. Im-ages are very good at communicating knowledge quickly. Cine-matographers today have to be more knowledge-able than beore.Not only about oot candles, filters and technical matters. Dontget me wrong, technology is very importantotherwise you cantachieve your idea. But the most important thing is the IDEA.Tats the most important thing in every AR.

Leonardo da Vinci Annunciation (1472), Uffizi Gallery, Florence.

Vittorio commented, The Annunciation presents an innovation

the angel is like a messenger bringing a new form of knowledge,

a symbol of light, of a new era. The painting is also a symbol of

perfect vision, with a composition of 2:1. After seeing this paint-

ing, I knew I was ready to cross the bridge to a new era.


11/14Issue 75 Apr 2016

Will Arnot, SOC, Camera Operator

I started out as an electrician and local 52 grip. I pushed dolliesor a decade beore I became a camera operator. I spent several othose years slowly overlapping as a Steadicam operator. As a dollygrip I had the privilege to learn rom many great operators. When

you move a 1,000 pound dolly, you learn the importance o antici-pation. Pushing a dolly really trains you to watch the actors. Youget in tune with body language and intention. Camera movementshouldnt stand out as its own thing. Effective camera movementshould be invisible and yet it should have impact, meaning andeeling. Tese principles o anticipation and invisibility apply notonly to dynamic movement but also to composition and ramingwhen not moving the camera.

My world growing up was constantly in motion, having attended11 schools on 5 continents by age 15. Dynamic camera movementand the challenges offered by Steadicam were o great interest.Te two important relationships in a moving shot are between

camera and subject and camera to background. It sounds elemen-tary but without this, many things change, namely compositionand ocus. Blending axes o movement is disturbing to me andremaining linear to the action is preerable. It is the arcing diago-nal movement that gives away the act that youre on a Steadicam.

Te A Camera Operator on any project has a unique opportunity(and responsibility) to weave a consistent eel into how and wherethe camera is placed and how it is or is not moved. On Cae Soci-ety with Woody Allen and Vittorio Storaro, I tried to incorporatemy dual roles as camera operator and Steadicam operator to lookas seamless as possible and to maintain continuity o compositionand movement. I I know that a scene starts out with a dolly shot

and were going to continue on a Steadicam or another tool, I al-ways try to compose and operate in a way that I can replicate themethodology both in eel and look.

Cae Society was a lesson in wide lenses. Mostly we used the18 and 21 mm Cooke S4 lenses. A wide lens invites your eye ona journey around the rame, where depth, lighting, and back-ground action require strong composition and diligent blockingto give the writing and acting real lie, not edited lie using closeups. Longer lenses compress and flatten the depth and make theocus more selective thus limiting the point o ocus, not allowingthe eye to travel, orcing the audience to observe only one thing,which usually becomes less interesting. Woody and Vittorio excel

at their respective craf and were a antastic team or me to sup-port and learn rom.

Woody is an actors director so he is not very interested in ruin-ing a good bit o writing and acting with unnecessary coverage.He is very economical this way. He is also economical with hisdirection to camera. So, in speaking with Vittorio I would alwayshelp maintain a quiet set and allow them to work it out, but alsoso I could listen to every detail and not need to have the whole

discussion repeated to me. Woody is brilliant with blocking. Forexample, instead o two people on a couch airly close to the cam-era, he would have one person on the couch playing to cameraand the other person playing very deep in the background araway, but still have them play to each other. It stretched the act-ing and reinorced the depth o the composition which Vittoriohad created with the lighting and camera angle. Te two o themworked extremely well in this way, Vittorio creating a dynamicarena and Woody blocking the acting to allow them ofen to com-plete a scene in one take.

My very first meeting with Vittorio was when we started prep-ping at Panavision Hollywood in LA. He came in. I was quite in-

timidated. He took us into a board room and laid out his ideas.He showed us examples rom the great Masters o art historylike Caravaggio. I remembered an email I had sent Simone a ewweeks earlier asking what ormat we would be shooting in. Sim-one said, Univisium 2:1. I hope youll like it! Exclamation point.I hadnt done that beore. And then Vittorio explained the 2:1 ra-tio and Da Vincis Last Supper. It was a wonderul lesson or me.

I would say the transition rom film to digital or Vittorio andWoody was seamless. I think Woody was happy to see a reallyclean image on his monitor. I dont think theres anyone whodoesnt appreciate that. Especially when you have looked at im-ages rom a flickering analog video tap or so long.

On set, Woody and Vittorio were usually right next to me. Vit-torio was always concerned about the directors comort. He laiddown the law on the first day. Im going to be here, on one side othe camera. Woody is going to be on the other side. Tere are notgoing to be any cables between the director and wherever he hasto go, he said. Vittorio is a great leader; that was perectly clear.Cables would be neat and organized and out o the way. I ap-preciated that because when working in small spaces it is easy toget on top o each other. It was one o those small but importantthings about perception and running an efficient set. And it wasan awareness o giving Woody, the director, that ease and pleasureto be on the set. Its one o those wonderul human aspects thatyou appreciate so much when working with Vittorio. He reallyencourages everyone to be mindul on set. Not just setting a hightechnical bar, but intertwining a real awareness o everybodys

job, that we may each respect and admire the others work.

Tere is always that very first week with any Cinematographerwhere hes eeling you out, testing you. I was trying to make sureI was getting what he asked or and I think he trusted me earlyon. Afer the job, Vittorio told me that I was writing with thecamera. Tat comment was a real pinnacle or me. According toVittorio, in his inimitable style, perhaps there were three writerson this movie: Woody Allen, who writes with words, the cameraoperator, who writes with the camera, and o course, the incom-parable Vittorio, who writes with light.

Photo of Will Arnot: Sabrina Lantos Gravier Productions, Inc


12/1414 Apr 2016 Issue 75

I was the DI on Cae Society. I have worked with Vittorio sincethe beginning o my career. I was his student at the Academy oImage in LAquila in 2002. Ten I was his second Camera Assis-tant and loader on films beginning 2006. When we started to beinterested in digital cameras, I was one o the first in Italy to be-

come a DI. So Im a DI who used to be a loader.

We used the Sony F65 on Cae Society because Vittorio wanteda camera that could record at least 4K, 16-bit. It actually has an8K sensor with a dedicated green photosite or every pixel in the4K output. Tis is very important. Now that we are doing the DI,we see the cameras great range o color and tonality.

We did tests at the beginning to establish the looks that we builtwith Anthony, the colorist. I had these looks with me when wechanged locations and scenes during the story. Te looks wereloaded in Livegrade on my custom DI station. I brought myon-set and near-set equipment rom Italy and integrated with thehelp o Panavision NY.

Te workflow was as ollows. We recorded 4K 16-bit RAW ontoSony SR Memory Cards. We simultaneously sent S-Log3.Cine viaHD-SDI cable into Livegrade on my DI cart. Te show LU wasapplied and that went to Vittorios and Woodys monitors on set.We also used Pomort Silverstack or data managment and MD5checksum verification.

My cart had a Sony BVME 250, Leader 5333 with Sony opslog,my DI box with LUTer and SDI hub, and video IO cardsbutit was still lightweight and easy to move around. A video assistoperator took care o video playback or Vittorio and Woody Al-len. Te 2nd AC took the SR Memory Cards rom the camera to

the loader on the camera truck. Just like a traditional film loader,he downloaded the data using Silverstack onto a 24 B RAID. Healso checked the ootage and made ramegrab stills. Ten we sentthe Memory Cards physically to echnicolor Postworks.

Vittorio has a unique way o working. He likes to be very close tothe set with this cart, watching his 17-inch Sony PVM OLED moni-tor. He controls the lens aperture with a Preston wireless hand unitand set light level with his dimmer board. Woody Allen has his own25-inch Sony PVM monitor, also right up close near the actors.Tats what Woody and Vittorio wanted. Tey did not want to bear rom set in a video village. It was very interesting or our crew toset it up this way every day. Vittorio is very precise. He tells you how

and where you have to put everything. He saved a place or himseland or Woody to be comortable on set with the actors close by.

Id like to compliment Chris Konash, the engineer rom Panavi-sion, who set up our F65 digital system during prep. Te F65 was

very solid. Te workflow was easy. I think that the image wasprobably the best quality that I have ever seen. And we never hada problem with the camera. In terms o sofware, the camera was

very solid during the entire movie.

Vittorio asked all o us to keep notes with suggestions on improv-ing the camera. One thing we all agreed on was the need or aaster download station with Tunderbolt or better. Our stations

were Mac Pros with a Promise RAID, Sony SR-D1 USB 3.0 andSR-PC4 10 GbE.

Dailies were graded with Baselight by Anthony Raaele, who alsograded the DI. Every day, I would send him emails with requestsrom Vittorio, with CDLs, notes and 16-bit IFF ramegrabs.Sometimes with Vittorio, we graded the ootage with DaVinciResolve on my cart to show Anthony how Vittorio wanted it. Da-Vinci is very helpul or me to do color correction using specificwindows and providing directions. Livegrade is reserved or pri-mary grades, with CDLs, and to eed the monitor on set.

We had a Sony F55 camera or Steadicam. Te workflow was sim-ilar although the data bitrate was about hal. Te F55 and the F65

matched reasonably well together. However, in high contrast situ-ations, Vittorio noticed a difference and preerred the F65.

It was a pleasure to have been part o the first Journey rom Filmto Digital or two legends like Vittorio Storaro and Woody Allen.I always thought that nothing had changed, except or some littledifferences, and that i used with consciousness, it represents in-credible advantages. I believe Vittorio and Woody elt very com-ortable with the system. From my side, I tried to set up every-thing to make it amiliar or the way they are used to working.

As Vittorio says, its progress. We cant stop it but we have toseize the advantages and improve upon them, being part o theevolution.

Simone DArcangelo, DIT

Left: Cafe Society Camera Crew under the Hollywood

Sign, L-R: Vittorio Storaro, ASC, AIC, Ethan Borsuk,

Simone DArcangelo, Tim Guffin (2nd AC), Nathan Stern,

Digital Utility. Above: DIT Station.


13/14Issue 75 Apr 2016

Anthony Raffaele, Senior Colorist

I am a senior colorist at echnicolor Postworks New York. I be-came involved with Woody Allens Cae Society when VittorioStoraro requested a Baselight colorist who could do both the dai-lies and the final grading. Te stars aligned or me to be in thatposition. Its more and more unusual or the same person to dodailies and DI, but its definitely a way that I like to work.

Vittorio established looks at the outset. Afer we met in NewYork, the production started in L.A. I flew to L.A. and met withVittorio. It was unny. He said, Were not going to do anythingright now. Well just talk. We sat down and he started explain-ing the concepts behind the film and what he was looking or.He went over the script, pointing out his eelings or the story,the different types o looks that he wanted emotionally and howthose emotions translated into visual concepts.

Tere were three looks. Te Bronx, L.A. and then New York. Forexample, the Bronx was supposed to be a sofer palette. It waspoor. Lower toned, subtly less contrast and cooler. L.A. was more

vibrant, new and resh. More colorul. Warm. Brighter. Te New

York look was more o a merging o the two, bringing somethingback rom Los Angeles, with a luminance, brightness, a resherlook. Its a little cleaner in tone as ar as color palette. But its still

vibrant and brighter. Tese looks were saved to SD card as LUs.And then Simone DArchangelo loaded them into Livegrade onhis DI cart on set.

Te language between the cinematographer and a colorist is o-ten vague and creative. Vittorio sat down and showed me someo his inspirations artistically, rom Vermeer and Caravaggio toNorman Rockwell. I did lots o research on Vittorio in advance.I watched most o his films and read most o the interviews hehad given. I began to understand his language. But sitting down

with him, discussing and then working with him was a wonderulevolution rom that first conversation we had in Los Angeles towhat we have now.

We set the looks physically, technically, and artisticallybegin-ning with the primaries. For the Bronx, we sofened the contrasta little bit, brought down the highlights, and brought up the shad-ows. We used Baselight. I eel Baselight is a tool designed or se-rious artistic color correction. Not that you cant get the lookswith another system, but I like the manner in which it handles thetimeline, the color palette, the layers. It has additional tools, likediffusion plug-ins, grads, keys, windows, sharpening, noise, andgrain. You can add camera shake or stabilization.

In terms o workflow, the media cards came back to me withCDLs and DaVinci Resolve ramegrab stills with circles andarrows and notes rom Simone and Vittorio. Every day, I wentthrough all the shots and applied the LU that I already had. TenId make adjustments according to their notes. Tey did not shoota lot o ootage. I think the most they shot in a day was maybean hour, a little less than a erabyte. Grading the DI did not takelong. I started with the CDL, the on-set LU, and our output LU

(also known as the Show LU). And then, as Vittorio might say,I would add my collaboration. Te material is 4K but I graded inHD or dailies. One o the assistants then synched and logged itall up with ColorFront OSD (On Set Dailies). A lot o care wastaken to keep the naming structure so the dailies files mirroredthe 4K file structure. Vittorio got a Blu-ray copy and the editorgot HD files or the Avid.

For finishing, we got the EDL rom editorial, pulled all the RAWmedia files rom the LO, and conormd in Baselight. Ten Igraded on the fly rom the RAW in 4K. We graded using ACES,with the BaseLight converting to XYZ. ACES enabled me to ob-tain better black levels or Vittorio.

Working with Vittorio is like getting a degree in art history andcinematography. We discussed technical color science, black lev-els, density, red to orange, warmth, coolness. We also discussedthe emotional aspects, with Vittorios art reerences. I I did notknow the works o art, Vittorio would virtually take me to themuseum. I you really want to do something special when yourein a grading suite, you need to be able to discuss both the techni-cal aspects and the emotional eel o the story line.

One o the big changes that many o us colorists have experiencedover the past five to six years is the change rom film to digital.Many colorists who were sensitive to the film look are able to re-erence the eel, look, density, color, tonality o film and translate

it to the digital medium. I think that Vittorio has done it with thispassage o his rom film to digital. He wasnt shy about shootingwith strong highlights and low shadows to get a great contrast ra-tio. And his camera seemed to do it as well. But, at the end o theday, the camera doesnt matter as much as the cinematographerusing it. Vittorio is an amazing artist. But hes also highly techni-cal. Dont let him ool you. He knows what hes talking about onevery level: artistic, digital, technical.

Working with Vittorio was like being taken inside the inner cir-cle o what it means to be a true filmmaker. Vittorio is preparedrom the beginning. When I sat down with him in L.A. he had anotebook three inches thick with scenes drawn out on each page,accompanied by art reerences, cut-outs, swipes, notes. He startsrom day one with ideas about the emotions o the movie and hecarries those through the entire project. Hes a Maestro. He wouldsay, Hey, can we try this? Can I look at that? What i we try it, tellme, show me.

Its amazingly rereshing because when you take the time, i youcare about the project, care about his intentions, i you think aboutwhat hes asked you to do, displaying those emotions, eelings andlooks, i you put the time in to come up with ideas about what heslooking or, then he wants to listen to you and explain everything.Hes absolutely a perectionist. But hes the most collaborativecinematographer Ive ever worked with.


14/14

ARRI ALEXA Mini 4:3 Anamorphic

Anamorphic Modes: ProRes and MXF/ARRIRAW

ARRI Alexa Mini SUP 4.0 enables internal ARRIRAW recordingand 4:3 sensor modes or anamorphic production.

4:3 ProRes recording modes

Afer upgrading to SUP4.0, get an ALEXA Mini 4:3 License Key(alshop.arri.de) that unlocks 3 new ProRes recording modesto access the ull 4:3 sensor area and supports two anamorphicmodes. All 4:3 modes offer SDI dual 1.5G or 3G outputs.

ProRes 4:3 2.8Kis the highest 4:3 ProRes resolution. Te ull 4:3sensor area (2880 x 2160) is used or anamorphic or sphericalormats. It offers rame rates up to 50 ps and the choice o 2xanamorphic de-squeeze or the EVF and SDI monitoring outputs.

ProRes 2.39:1 2K Anamorphic captures the 2K 1.2:1 (2560 x2145) anamorphic image and then desqueezes, scales and recordsit in camera to a 2.39:1 standard 2K ormat (2048 x 858). Youdont have to crop or scale in post. Te in-camera scaling reducesthe data rate, so maximum ps is 120.

ProRes 16:9 HD Anamorphic also desqueezes and rescales incamera. In this mode, the .88:1 (1920 x 2160) anamorphic imageis unsqueezed, scaled and recorded to a 16:9 (1920 x 1080) ra-tio. Tis is or cinematographers who like the look o anamorphiclenses but the exhibition ormat is 16:9 HDwithout letterbox.Maximum ps is also 120.

Internal MXF/ARRIRAW recording

An ALEXA Mini ARRIRAW License Key and SUP 4.0 enablesARRIRAW recording to ALEXA Minis in-camera CFast 2.0 cards.

MXF/ARRIRAW 16:9 2.8K records an area o 2880 x 1620 andsupports rame rates up to 48 ps.

Files are wrapped in an MXF container. Like ARRIRAW, the newMXF/ARRIRAW ormat is uncompressed, unencrypted, and

contains audio and metadata. Only the packing is different. AR-RIRAW processing tools such as DaVinci Resolve and Baselighthave to be updated with a new SDK, which ARRI has provided.

ARRIRAW Converter supports MXF/ARRIRAW rom version3.4, available at no o charge on the ARRI website.

MXF/ARRIRAW clips do not require specially ormatted CFast2.0 cards, so MXF/ARRIRAW and Quickime/ProRes clips canbe mixed on the same card.

Internal MXF/ARRIRAW Open Gate recording

Installing both the ALEXA Mini 4:3 and the ARRIRAW LicenseKeys on the camera activates MXF/ARRIRAW Open Gate 3.4Krecording modes.

MXF/ARRIRAW Open Gate 3.4K(3424 x 2202) maximum re-cording speed is 30 ps. As with ProRes 4:3 recording modes, anoptional 2x anamorphic desqueeze is available or all monitoringpaths and dual 1.5G or 3G SDI output is supported.

With MXF/ARRIRAW, 3 additional Open Gate 3.4K recordingmodes are introduced:MXF/ARRIRAW 4:3 2.8K (Open Gate 3.4K)

MXF/ARRIRAW 2.39:1 2K Ana. (Open Gate 3.4K)

MXF/ARRIRAW 16:9 HD Ana. (Open Gate 3.4K)

Recording is 3.4K Open Gate at up to 30 ps, but the monitoringpaths reflect the corresponding 4:3 ProRes modes. Te active im-age area is noted in the metadata, so postproduction tools can cropthe images automatically. ARRIRAW Converter and other toolsthat support the new ARRIRAW SDK are able to override that in-ormation and return to the ull Open Gate rame i required.

Super 16 HD recording

ProRes S16 HDmode lets you shoot with Super 16mm lensesonto a 1600 x 900 sensor area thats scaled to HD 1920 x 1080.

ECS and Lens Data Archive

Electronic Control System (ECS) support in the ALEXA Mini hasbeen extended to include the Lens Data Archive, allowing customlens files to be created and used.

Transvideo StarliteHD5-ARRI

Te touchscreen interace o the ransvideo StarliteHD5-ARRImonitor now has a more neutral look, new unctions includingrecord start/stop, access to the top 3 user buttons, and playback.

Camera Control Panel CCP-1

Te CCP-1 is essentially an MVF-1 viewfinder without the eye-piece. It provides ull access to the menu along with a small moni-tor image. It can also be used in combination with the MVF-1

by daisy-chaining rom the second EVF connector o the CCP-1.

Additional SUP 4.0 Features

Extended SDI metadata SDI outputs now embedded withstandard ARRI metadata.

Wi-Fi toggle via user button to quickly enable and disablethe Wi-Fi interace.

Selectable viewfinder zoom position adjustable via the LCDpanel buttons.

Longer exposure times no restrictions on exposure timeslonger than 1/24 s.

www.arri.com NAB Booth C6537

75 film and digital times storaro passage to digital

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