- 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".
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.
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