Press

2017 Sundance
01/2017 ALEXA 65 on LIVE BY NIGHTX
09/2016 SULLY captures with ALEXA IMAX
06/2016 People: Kelli Bingham
03/2016 People: Mike Sippel
02/2016 People: Ashley Hill
2016 Sundance
01/2016 People: Sean Strong
12/2015 Christmas Holiday
11/2015 Thanksgiving Weekend
09/2015 Labor Day Weekend
07/2015 Independence day Office Hours
05/2015 Memorial Day Weekend Office Hours
05/15 ARRI Rental Miami - Committed to Florida
03/15 ARRI Rental Restructures its Miami Business
03/15 ARRI Rental Atlanta
2015 Sundance
12/2014 Christmas Holiday Hours
12/2014 ALEXA 65 Launch Event
11/2014 Thanksgiving Holiday Hours
11/03/2014 ARRI Rental Announce New Management
10/29/2014 ARRI CSC becomes ARRI Rental
09/2014 Labor Day Weekend
07/10/14 ARRICSC Expands to Atlanta
07/2014 Independence day Office Hours
05/22/14 The Americans
04/02/14 People: Dana Ross
02/14/14 Charlie Tammaro
02/12/14 People: Rich Joneleit
2014 Sundance
2013/2014 Holiday Opening Hours
09/2013 Neil Fanthom
09/2013 Labor Day Weekend
07/2013 Interview: Sabrina Mossberg
07/2013 10 years ARRI Rental FL
07/2013 Independence day Office Hours
06/2013 ARRI/Zeiss Anamorphics
06/2013 ALEXA Infrared
05/2013 Memorial Day Weekend Office Hours
04/30/13 People: April Lanci, Emilio Medina
Interview: Tracey Landon
2013 Sundance
2012 Christmas
2012/2013 Holiday Opening Hours
11/2012 10 Years ARRI Rental FL
09/2012 Interview: Gary Guidice
07/2012 People: David Lamadrid
05/2012 Memorial Day Weekend Office Hours
04/2012 Dino Pascarelli
2012 Sundance
2011/12 Holiday Opening Hours
11/2011 People: Chris MacKarell
08/2011 Expendables Online Shop
07/2011 Foursquare
07/2011 Mildred Pierce
03/2011 The Godfather Anniversary
10/2010 ID Camera Department
06/2010 People: Lynn Gustafson
04/2010 People: Volker Bahnemann
02/2010 Equipment: Weisscam
02/2010 Equipment: Sale

 

Production makes the switch to On-Set Dailies


Interview with "Untitled Elmore Leonard Project" Line Producer Tracey Landon. The movie, starring Jennifer Aniston, Isla Fisher, John Hawkes, Tim Robbins, Mos Def, and Will Forte, is set in 1970s Detroit and is based on the Elmore Leonard novel "The Switch".

Tracey Landon

more about Travey Landon on IMDB

1. What was your experience during the project?

Our overall experience with ExD on the picture was positive. It proved to be a lightweight and intuitive program that easily handled our ProRes files in-house, to produce compressed clips with color correction, synched audio and burn-ins in multiple formats simultaneously, without any visible loss in picture quality.

2.Why did you decide to shoot digital instead of film?

The film industry is constantly evolving and the passion for film is still alive and well. However, from a producer's standpoint whose fiduciary accountability to the picture has to balance with the creative, new advances in digital cinema offer benefits to both responsibilities. Nowadays, digital cameras teamed with a set of precision optics and slick post-production processes are coming closer to meeting the image quality of film, all the while serving the financial responsibilities of the picture's budget in terms of production and post‐production costs.

3. Why did you capture in 2K Pro Res instead of ARRIRAW

While the ArriRaw format provides the highest achievable resolution and the mostflexibility in post-production, the use of the ArriRaw format, and subsequently, external recording devices, were cost prohibitive for us for two reasons. Mainly, the workflow created by the file size and the sheer volume of footage created by the ArriRaw format were too burdensome for our post-production capabilities within the budget of the picture. Secondly, the cost associated with the external recorders themselves was weighed upon in our pre‐production process to determine camera, lens, format and file types, and unfortunately didn't make the final determination.

4. Was editorial happy with the files generated by the system?

We generated ProRes 422 LT files for use in Final Cut Pro 7, which were exported without changing the file name, so the files interfaced with Editorial seamlessly. The Editors received uniform clips with no audio handles that were color corrected according to LUTs provided by the camera department, and therefore the Editors didn't have to fuss with any more synching, compressing or color correcting before meeting their tight deadlines. Proper color and quality of picture informs the Editors' decisions as filmmakers, and therefore, ExD works from the minute you ingest footage all the way to festival submission or commercial release.

5. Did the dailies and delivery time meet production's needs?

The ease of use and automated processes of ExD are unparalleled. All dailies deadlines were made with time to spare and we were watching the day's footage on set the next morning.

6. Would you recommend the system and service to other productions?

I would highly recommend this system to other productions if they find it within the means of their budget.

7. What was your estimated budget savings by utilizing this system?

Between the cost of film, processing, telecine, online edit and negative cutting, I would estimate anywhere from $200,000 to $300,000.

8. Any suggestions to improve the system?

Yes. There were several bugs to report, which were shared with and resolved by Chris MacKarell (Digital Workflow Supervisor at ARRI Rental) as they popped up.

For further information, please contact:

Brigitte Wehner