Now The Standard In Postproduction

Most feature films go through a DI process these days. After adding visual effects and performing color grading in a digital environment, a typical film then goes back onto an intermediate negative. This can be used directly for the final release print, thereby surpassing the quality of a conventional print, which has to go through analog steps in the laboratory.

The following features make the ARRILASER the preferred tool for the DI workflow:

• High recording speed
• 600m / 2000ft magazines for recording one complete reel
• On the fly image processing, to speed up the workflow
• Superior image quality, with resolution up to 4K

It is these advantages, along with many others, that have led to the ARRILASER being used on the majority of major motion pictures today.  

Putting Digital Images On Film

The ARRILASER is the ideal tool for printing digitally acquired images onto 35mm film for distribution and exhibition. The following options are primarily intended for this workflow:

• ARRICUBE for Video Look: perfect color reproduction of your digital files onto film
• Camera negative option: recording on camera negative can achieve a filmic look by introducing natural grain
• On the fly sharpening, rescaling, cropping and deinterlacing

Preserving Images for the Future

With new file formats, storage capabilities, and rates of data flow constantly changing, there is a risk that data stored on current tapes and hard drives might not be accessible later. The ARRILASER offers the only proven way to store film images that can be accessed not only tomorrow, but for decades to come.

With the option to record b&w separations from a color negative, the ARRILASER offers a very convenient way to store a color negative on the most future-proof media that currently exists: b&w film.