Definition November 2021 - Web


Through the looking glass

of the frame, requested by cinematographer Greig Fraser. The Arri Rental Moviecam lenses incorporate vintage glass in modern lens housings, to produce high- performance lenses with a classic look. They’re available in 11 focal lengths, ranging from 16mm to 135mm. Most of them offer a T2 stop, with the exceptions being the 100mm and 135mm (T2.8) and 60mm (T1.5). The 60mm is well-suited to low-light scenarios, and also capable of creating attractive bokeh backgrounds. Both lens series are available exclusively through Arri Rental facilities around the world.

Arri has announced two new large-format lens series: Alfa anamorphic lenses and Moviecam spherical lenses. Both are LPL-mounted and utilise LDA chips for efficient lens data workflows. Responding to demand for a greater variety of large-format anamorphic lenses, Arri Rental’s global development team conceived the Alfa series. They worked together to adapt sets of Master Anamorphic lenses to cover the larger format, while Arri Rental technicians ensured that the lenses would produce a soft vignette at the edges and a clear, focused image at the centre


In recent years, theatre productions have become increasingly ambitious and pioneering in their use of VFX to create mesmerising spectacles. The latest show to put VFX designers to the test is Back to the Future: The Musical , which arrived at London’s Adelphi Theatre in August 2021. Rising to the challenge of recreating time travel for the stage is disguise, the platform behind productions such as Frozen and Harry Potter . Video design plays a fundamental role in creating a contrast between the ordinary world and science fiction. Three disguise gx 2 media servers fuel the production, powering extensive Notch LC video files and Notch generative video content. Video is delivered through a large 3.9mm Roe Visual Diamond LED wall upstage, while Brompton Technology LED processors project onto a gauze downstage, immersing the performers in the action. Disguise has played a fundamental role in supplying traditional playback and live-generated content, which was integral to the stage design of Back to the Future . Its powerful servers are reliable and responsive, meaning all technical challenges could be met, with sound, lighting and automation data coming together seamlessly. For designers, the ability to visualise the show using an accurate 3D simulation while offline was essential to preparing the venue in a short space of time. Disguise also set up an intuitive workflow for communicating with external systems during the show, allowing video and lighting to be merged in the same auditorium circuit board. By proving itself capable of both magic and time travel, disguise has made enormous waves in the world of VFX and is paving the way for the future of theatre and live productions.

09. NOVEMBER 2021

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