TECH I NNOVAT ION AWARDS | SET- UP
WINNER OF OPTICS ARRI RENTAL DNA LENSES
The Arri DNA lens story is as much a credit to Arri Rental as it is to DOP Bradford Young when he shot Solo: A Star Wars Story . Young was looking for a lens solution for the movie that would twin the Alexa 65 camera that he had decided on. He was happy to break some rules, saying: “It was more important that I was bearing witness to glass that I had literally never seen before, glass that had never been used on movies before. So we were really breaking rules – not shooting Panavision glass was one of those. Not shooting anamorphic, so that’s another rule broken. Every day was like reinventing the wheel, but the format was at the mercy of the optics.” Long story short, Arri Rental ramped up the R&D on its DNA range of glass to give Young what he wanted. Initially, he tried out a 50mm and realised this was the look he was looking for – even though it was still in modular form without a scale or ring, but with a XPL mount. Other lenses quickly followed and the rest is history. Arri isn’t saying exactly what vintage glass the DNA lenses use, but it is emphasising the customisation, with filmmakers able to achieve the look they want. Arri is emphasising the customisation, with filmmakers able to achieve the look theywant
WINNER OF CODECS SONY X-OCN FOR VENICE
SHORTLIST n
Arri DNA lenses
Raw recording – when treated and graded properly – makes the most wonderful images, but it also comes with some hefty logistical issues. The main ones being file size, cost and time. With Sony’s X-OCN codec, a lot of these issues have changed. X-OCN (eXtended tonal range Original Camera Negative) uses the 16-bit precision, but it moderates the bit rates. This, in turn, means you get much smaller file sizes than typical camera Raw, giving you fantastic tonal expression, longer record times, faster file transfers and hopefully saving you money in post-production. One TB of 4K X-OCN at 24fps can record up to 168 minutes compared with 130 minutes for 1TB of Sony Raw. We tested this codec against Sony Raw, and from what we saw, we couldn’t tell them apart. Like Raw, X-OCN doesn’t bake in your exposure index, colour space, LUTs, gamma etc. It captures these parameters as monitoring settings and is totally non-destructive, meaning you have amazing control and much better flexibility in post- production. There are two flavours of X-OCN: the first being standard (ST) and the second, light (LT). X-OCN ST has 40% longer recording time and approximately 30% shorter file transfer time than Sony Raw. The advantages for X-OCN LT are greater still, with 136% longer recording time and roughly 59% shorter file transfer. SHORTLIST n Sony X-OCN for Venice n Blackmagic Raw n Codex High Density Encoding
n Fujinon Premista LF n Canon Sumire Prime LF
JUNE 20 1 9 | DEF I N I T ION 15
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