Connect The Dots

Many great video people lost a lot of money investing in $100,000+ “online” tools like CMX and ADO just before the advent of Avid and the Video Toaster and the bottom of an entire market fell out.

I think another bottom is going to fall out. Let’s witness a chain of events in the process of exploring six new products—ARRI Relativity, DaVinci, GenArts Sapphire, The Foundry’s Nuke and Cooke and Canon lenses—and smell the wind changing again.

ARRI Relativity, powered by Cinnafilm’s Pixel Strings™, is designed for the transition from film to digital.


The RED ONE camera records frames composed of 12,642,000 individually addressable pixels. However, each frame’s metadata is virtually unlimited. The RED is building pathways to that data from a widening range of peripherals, streamlining and reducing the cost of production.

Animators, digital intermediate (DI) artists, colorists, visual-effects scenarists and others can save millions of dollars if certain types of metadata can be gleaned from a shoot. Lens type and settings, GPS positioning, tracking, tilt, pan, elevation, time of day, weather, humidity, even the actors’ health can easily be stored frame by frame.

Easily acquired metadata, and the ability to employ it economically, will obsolesce several categories of current filmmaking craftsmanship, from the DP to the DI. New workflows and new ways to tell stories will result. Crafts, now dormant, will revive.

Clue 1


You say, “ARRI,” and I say, “Check the gate.” ARRI is making software? Yep. ARRI Relativity, a software product, was introduced at IBC last year. It will be presented with the new ARRI digital cameras ( at NAB 2010. Henning Rädlein, Head of Digital Workflow Solutions for Arnold & Richter Cine Technik GmbH & Co. (aka “ARRI”) of Munich, Germany, reveals ARRI’s intentions.

“ARRI responded appropriately to the RED ONE, and we will show three new digital cameras at NAB 2010,” says Rädlein, “but ARRI Relativity is designed for the transition from film to digital, and the hybrid world of mixing and matching digital and film sources. It allows producers and DPs to extend the viability of film, especially 16mm. Digital filmmaking is complex. ARRI Relativity is very easy, and you don’t need to be an engineer to use it.”