Cinematographer
Der ARRILASER bringt digitale Arbeit zurück auf Film – die ultimative Archivierung. Zu wissen, dass mein Material als Negativ existieren kann, gibt mir Sicherheit.
ARRI's film recorder that transfers digital files back to film negative – creates archival prints and theatrical release prints from digital masters.
What is the ARRILASER?
The ARRILASER is ARRI's professional film recorder, which transfers digital image data onto film negative. It enables the creation of archival negatives and release prints from digital masters – the reverse process of film scanning.
Principle of Operation
| Component | Function |
|---|---|
| RGB Lasers | Exposes film with precise light |
| Film Transport | Moves negative frame-by-frame |
| Pin Registration | Exact positioning |
| Color Management | Converts digital to film density |
| Control | Computer-controlled exposure |
Technical Specifications
| Parameter | ARRILASER |
|---|---|
| Resolution | Up to 6K |
| Formats | 35mm, 16mm, 65mm |
| Speed | 0.5–2 fps |
| Color Depth | 16-bit per channel |
| Registration | Sub-pixel accurate |
Applications
| Use | Description |
|---|---|
| Archiving | Long-term preservation on film |
| Release Prints | For film projection |
| VFX Integration | Digital back to film |
| Restoration | New negatives from old scans |
| Artist Prints | Limited editions |
Workflow
| Step | Activity |
|---|---|
| Preparation | Finalize digital master |
| Color Conversion | Digital-to-film LUT |
| Test Strip | Proof exposure |
| Recording | Frame-by-frame |
| Processing | In film lab |
| QC | Negative acceptance |
Supported Film Types
| Format | Use |
|---|---|
| 35mm | Standard cinema |
| 16mm | Archive, specialty |
| 65mm | IMAX, premium |
| Intermediate Stock | For print facility |
| Print Stock | Direct projection |
Advantages of Film-Out
| Advantage | Description |
|---|---|
| Longevity | 100+ years with proper storage |
| Format Independent | No codec decay |
| Physical Archive | Not technology dependent |
| Quality | Full analog resolution |
Comparison: Film vs. Digital Archive
| Aspect | Film (ARRILASER) | Digital (LTO) |
|---|---|---|
| Durability | 100+ years | 15–30 years |
| Migration | Not necessary | Regularly necessary |
| Cost (initial) | Higher | Lower |
| Cost (long-term) | Lower | Higher |
| Access | Projector needed | Computer needed |
Cost (approx.)
| Service | Price |
|---|---|
| 35mm Film-Out/Minute | €500–€1,500 |
| 65mm Film-Out/Minute | €2,000–€5,000 |
| Test Strips | €200–€500 |
| Negative Processing | Separate |
Availability
| Provider | Location |
|---|---|
| ARRI Media | Munich, Berlin |
| FotoKem | Los Angeles |
| Cinelab | London |
| Haghefilm | Amsterdam |
History
| Year | Development |
|---|---|
| 1990s | First ARRILASER generation |
| 2000s | DI workflow established |
| 2010s | Premium archiving |
| Today | Niche application |
Today
The ARRILASER remains relevant for archiving and film purists. In a digital world, it offers the bridge back to the analog medium – for long-term preservation or authentic film projection, there is no substitute.
From the crafts
Perspectives
Director
ARRILASER ermöglicht echte 70mm-Prints von digitalen Masters. Für Filmemacher, die auf Film projizieren wollen, ist das der einzige Weg.
Producer
Film-Out mit ARRILASER ist Premium-Archivierung. Teuer, aber für wichtige Werke die langlebigste Lösung – Film hält Jahrhunderte, Festplatten nicht.
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1. Zu welchem Department gehört „ARRILASER"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?